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Scuttlers! Hooligans! Street gangs are nothing new

The Scuttlers of Manchester

Waging turf wars with knives and belts, teenage gangs with a ‘ferocious love of fighting’ horrified civilised society. The date? 1870. A new study of ‘The Scuttlers’ of Victorian Manchester reveals that gang culture dates back almost 140 years.

A Scuttler gang [photo: Greater Manchester Police Museum]

First of the gangs? Convicted Scuttlers

Out of the grime and squalor of industrial Manchester, emerged Britain’s first youth cult. The Scuttlers were the ‘hoodies’ of their day: teenagers who dressed alike and shared a thirst for recreational violence.

Their turf wars waged by gangs such as the Bengal Tigers and the She Battery Mob  are described in detail in the book: ‘The Gangs of Manchester: The Story of The Scuttlers.’

We spoke to its author Andrew Davies, senior lecturer in History at the University of Liverpool:

So who or what was a Scuttler?

“A Scuttler was a gang member. The term ‘Scuttler’ was devised by young people who were taking part in gang conflicts but it was passed on to the magistrates at some of the early trials of gang members and at that point the local press became very interested in both the new term and what looked like a new and very dangerous pastime.”

Smoky houses in Ancoats (c) Manchester Libraries

Ancoats c. 1870 (c) Manchester Libraries

You say it was the earliest recorded instance of a youth culture…

“Yes, it was a way of life, with its own fashions, its own language, its own code of conduct and it was very, very visible on the streets of Manchester in the 1870s. But it really shocked local civic and religious leaders who hadn’t come across anything quite like this before and didn’t know how to make sense of it.”

And the Scuttlers had a kind of uniform…

“Yes, the fashions were very distinctive. The Scuttlers’ haircut was described as a ‘donkey fringe’: hair cropped very closely at the back and sides but with long fringes at the front that were longer on the left hand side than the right. They also wore neckerchiefs which might vary in pattern or colour and that would be used to denote membership of a particular gang: there are a few surviving photos in which the neckerchiefs look, ironically, very like modern day Burberry! The Scuttlers also wore bell-bottom trousers and, though many adults at the time wore clogs in Manchester, the Scuttlers’ clogs had a brass tip on the end. They would have made quite a clatter on the cobbles.”

Why did they fight?

“The Scuttling conflicts were all about local pride and were organised as neighbourhood-based fighting gangs. They weren’t criminal gangs in the conventional sense. I think that Scuttling was very much about carving out an identity in what were these very densely populated districts. So it was about a sense of locality with young people trying to prove that their neighbourhood was the toughest one in town. So a lot of status or kudos rested on that.”

“Toughness, the resort to fighting to prove your mettle, and also the fierce pride in territory… I think all those ingredients are still there today”

Andrew Davies, author

There are obvious parallels between the Scuttlers and the gangs of today…

“Yes, the pride in toughness, the resort to fighting to prove your mettle both as an individual and on behalf of the gang, and also the fierce pride in territory – I think all of those ingredients are there today and in studies of football gangs. And of course the importance of fashion is paramount today as it was then. I was very struck by the description of Scuttler fashion of the 1880s – they were staggeringly close to the fashions of the Madchester era. You could imagine a Scuttler finding himself at a Happy Mondays concert a hundred years later and blending right in.”

So what was it that gave rise to Scuttling and this passion for extreme violence?

“It seems that the practice was somehow ratcheted up as Manchester became more heavily industrialised. You’ve got huge problems of overcrowding in the poorer districts with tens of thousands of people crammed into very close proximity in areas like Ancoats, Angel Meadow, Collyhurst and Salford. What that seems to have done is to have injected a new vigour and ferocity into the fights between competing sets of young men which had always gone on but never with this intensity of violence.”

And there were the same debates about how to deal disaffected youths as there are today…

“Yes. At the time, very large numbers of youths were sent to jail. In the first 12 months of the so-called Rochdale Road War of 1870-71, around 500 Scuttlers were convicted and members of the local council were growing quite alarmed at the sheer number of 12 and 13-year-old boys who were languishing in prison. So, the resort to imprisonment was made very early with sentences being handed out of 15–20 years. And somewhat to the astonishment of the authorities, this wasn’t enough to stamp the practice out.”

So why did Scuttling come to an end?

“What changed in the 1890s was the development of the Lads’ Club movement in Manchester and Salford, set up by local philanthropists and targeting those areas most infamous for their Scuttling gangs. For instance, Ancoats had four Lads’ Clubs established in a period of five years. Where they were very successful was in working with 12, 13 & 14 year olds – those lads of school leaving age who might have been expected to form the next cohort of the Scuttling gangs and getting those younger lads involved in educational and craft training and, more importantly, in new forms of leisure and sport and, most of all, football. So I think the Lads’ Clubs must have played some part in disrupting the supply of recruits into the gangs and also by promoting sport as an alternative form of competition between lads from different streets and neighbourhoods.”

So what do you conclude from your research?

“What’s very striking is that, looking at the records of Scuttling over a 30-year period, you seldom find a clerk or an apprentice being arrested. It was always those lads in that huge swathe of society for whom there were very few opportunities, and had no political rights. So if you like, staking out a claim to territory was one of the very few opportunities to ‘be somebody’ and be respected – even if that was to be feared.

“I think it’s no coincidence that when we get reports of gang activity today and knife or gun crime, they still tend to be clustered in those areas where young people, I would say, still have far fewer educational opportunities and poorer prospects in the labour market than their counterparts might enjoy in more affluent areas of Greater Manchester. That was the case in the late 19th Century and I would say absolutely remains the case today.”

‘The Gangs of Manchester: The Story of The Scuttlers’ by Andrew Davies

In the distinctive language of British journalism, the English football fans who caused so much trouble in Marseilles variously “went on the rampage”, “ran amuck”, were guilty of “thuggish behaviour”, or “caused mayhem”. They were variously described in news stories as loutsyobsthugs and ruffians, but the word that was universally employed was hooligan.

It’s an odd word, which the Oxford English Dictionary says started to appear in London police-court reports in the summer of 1898. It became instantly popular, with several compounds appearing in newspapers within weeks (a sure sign of acceptance), including HooliganismhooliganesqueHooliganic, and the verb to hooligan, of which only the first has survived. The long-defunct London newspaper the Daily Graphicwrote in a report on 22 August that year, “The avalanche of brutality which, under the name of ‘Hooliganism’ … has cast such a dire slur on the social records of South London”. The word soon reached literary works; Conan Doyle employed it in The Adventure of the Six Napoleons in 1904: “It seemed to be one of those senseless acts of Hooliganism which occur from time to time, and it was reported to the constable on the beat as such”, and H G Wells included it in his novel Tono-Bungay in 1909: “Three energetic young men of the hooligan type, in neck-wraps and caps, were packing wooden cases with papered-up bottles, amidst much straw and confusion”.

Several suggestions have been made about its origin that link it to the Irish family name variously spelt Hooligan or Houlihan. It seems there was a popular music-hall song of the period about a rowdy Irish family of that name; the OED comments that there was a series about a similarly-named comic Irish character that appeared in a periodical called Funny Folks. Some reports say it was a mishearing of the termHooley’s gang but nobody has come up with a source for this.

However, a book by Clarence Rook named Hooligan Nights, which was published in 1899, gives some helpful evidence. Mr Rook claimed that the word derives from a Patrick Hooligan, a small-time bouncer and thief, who lived in the Borough, on the south side of the river. With his family and a small gang of followers he frequented the Lamb and Flag public house in Southwark (not to be confused with the older and more famous hostelry of the same name across the river in Covent Garden). Mr Hooligan murdered a policeman, was put away for life and died in prison. Another writer, Earnest Weekley, said in his Romance of Words in 1912: “The original Hooligans were a spirited Irish family of that name whose proceedings enlivened the drab monotony of life in Southwark about fourteen years ago”. It would seem from the other evidence that spirited and enlivened are euphemisms.

Whatever its origins, it quickly became established. At first this was most probably because of its novelty and news value. Later, as its sense shifted slightly, none of the possible alternatives had precisely the undertones of a (usually young) person, a member of an informal group, who commits acts of vandalism or criminal damage, starts fights, and who causes disturbances but is not a thief. Last week’s newspaper reports show that it continues to serve a useful purpose.

World Wide Words is copyright © Michael Quinion, 1996–201

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Concrete Jungle Festival to X-ray Spex

From Concrete Jungle Festival to X-ray Spex live at the Roundhouse

Dress rehearsal one week before the gigwhat was I thinking, the day I decided to get involved with punk rock. my youth was way behind me, long gone were the days when I thought we were going to change the world. call it a mid life crisis, or just plain madness., but I would like to think it was more the desire to preserve and celebrate a time in British culture and music.

 Poly and Saxby live on the roundhouse stageI had been away, become a father, worked for many years as a television actor, seen the world, discovered foreign cultures and philosophy. I didn’t need a pair of doc martins to define myself.Whether it was because I had often played skinhead roles on television shows, the bond I had with my friends, the memories of punks queuing up outside the town hall when I was a kid to see our local band the Xtraverts. The Clash at Brixton, Madness in Hammersmith Odeon, The fact Gavin Watson had made a living from photographs of my friends and me, or the TV documentaries I took part in on the subject. whatever it was, inside me was a belief which I discovered in my teenage years, which had kept me safe throughout my life. that said whoever you are, from where ever you come, you can get up there and do it. Punk Rock was a lot more than fashion and clothes, records and rock stars. It was a belief system, shared and loved by thousands.

 Flash on saxAfter my time working with the Mean Fiddler came to an end, I was at a lose end. throughout my time doing large festivals, such as Leeds and Glastonbury, working behind the scenes, I had witnessed hundreds of bands come and go. The large American corporate labels selling the new generations, their version of Punk Rock, never booking the real thing. I often felt it such a shame that the kids of today or the Bands of real Punk had never had the chance of such exposure to each other, so when I bumped into an old friend, who was guitarist in the biggest band on the punk underground, Cock Sparrer, I agreed to work with him to produce a punk festival. I had experience with production, he was well in with the scene and all the bands, so the agreement was that I would sort the venue out, he would book the acts.

The crowd loving poly

All ages for an icon

 Poly styrene

a job well done

Straight from signing the contract with the venue and paying the deposit of £10.000 I was in too deep, and alarm bells started ringing. Bands contacted me to ask who I was and why was I advertising that they were playing at my show. I was just going on what my booker was informing me, but apparently it had been discussions in bar rooms, and not official agreements made. “Oh well that’s how its done in Punk” He told me.Things were quickly ironed out with most bands, but a few had to drop out because of other commitments. The tickets went on sale through a punk website, at first all was OK, but after months of promotion it became apparent that tickets weren’t selling at anywhere near the amount we needed to break even. I then noticed even headline acts hadn’t put on websites etc. that they were even playing. I didn’t have the money or time to go to every small gig in Europe to give out flyers, I was hoping the punk scene would rally behind a great new event. but what I got was the polar opposite.

When I asked a headline band from Scotland called the Exploited, if we could renegotiate their fee, which was four times higher than their usual gig fee, they refused and threatened the website selling tickets, which then panicked and returned everyone’s money that had ordered tickets. The money I had taken directly had all gone to pay the monthly deposits ordered by the venue, which was non refundable. Rumours became loud about cancellation, other punk promoters sent texts out to tell people it was cancelled. Political extremists started to spread personal insults and commit purgery about me. Even one disgruntled ex Punk singer Jimmy Percey, who incidentally was the singer of a song which changed my life called the kids are united, put on his website that the event was some sort of Nazi rally, because his previous band had decided to play without him. Who was this stranger, who had come from nowhere and decided to put on a Punk festival. Is he a Nazi or communist. The truth didn’t seem to matter on the internet world, where the Troll and Internet warrior rules.Concrete Jungle Festival 2007, featured over 60 bandsThen the next head-liner started causing trouble because the logo used mentioned a band he was once a member of, again one of my all time favourite acts from Coventry, and ex members of the Coventry Ska band The Specials accused us of trying to cash in on the name, or give people false hope that it was in fact the original act playing, which was completely untrue, but he also had to pull off of the event.The stress levels were effecting my personal life beyond belief. I had invested my life savings. I naively thought that the scene would get behind a great new event. 60 bands were booked. but sales we lower than band members. with no sleep for three months my mental health was suffering, I had no energy left to fight an internet war, I had no idea about what bands had been involved with in the last 30 years politically, had no idea about how many loyal fans they had, I took the word of people I thought knew. a very bad business decision. as the stress became higher and higher, I cut away from people, found myself lost in the internet world of make believe, just looking for positives. it cost me the relationship with the girl I loved.Two weeks before the event the website/ production manager demanded full payment then ran away, refusing to work any moreMy girlfriend and helper abandoned ship and left the country. taking what she thought should be her wages, but was in fact ticket money to be paid to bands. but worst of all my emotions.An hour away from the show, I knew I was financially ruined, my crew had left, the money gone, I preyed for a walk up which never came. but I had found some friends who had come in to at least help on the day, my kids ran the merchandise stall with my sister, some real angels helped to make the show go on. In terms of entertainment it was highly successful. many people told me later that it was the best punk show they had ever attended, but emotionally. financially and mentally I was broken. One guest came that day, who was to turn the whole tide, and if there is a god on Earth it was her. Poly Styrene is her stage name. to me she is Marianne.She offered me the hand of friendship, showed me a way forward, gave me support and mental help, the courage to go on.She also offered to perform an X-Ray Spex show with me. With my last bit of energy, I agreed and booked the Roundhouse in London, for a show the next year. I was finished financially, so what did I have to lose, it was not like Concrete Jungle festival,this was a standard venue, with a band which were icons of my youth. one of my all time favourite acts, and true punk rock, in attitude and action.The Roundhouse holds 3000 people, and by new years day we had sold enough tickets to break even,but there was a lot of work to be done, find musicians, work on the set, organise all the promotions,the radio, press.Three thousand people came

Poly suffers with serious mental health issues, which had to be considered everyday. until she actually got on the stage we never knew if it would go ahead. we had the usual people trying to sabotage the event, but we also had an army of loyal fans that made X-Ray Spex live at the Roundhouse the best day of my life.

for the year running up to the event, we booked the venue, put our money where our mouth was, poly was constantly worrying about her mortgage payments, she had a little house in st leonards by her mother, any money she had made years before had been taken from her by bad management and sharks. we were in the same boat, it was us against the world. but the word spread, the love which was attracted to poly from across the world was unbelievable, with no big business, no big corporate promotion we did it. people said it wasnt punk rock, because we put the show in a big venue, but the roundhouse is a charity which helps deprived kids, poly and me decided its the only place we could possibly hold it, she didnt like the drinking festivals which most punk gigs were, neither of us liked the corporate events. we wanted to do the show for the real fans, from all walks of life, all ages groups and backgrounds. 

the night before the gig my friend fiona was cutting the logo out to stick on a drum kit on her lounge carpet, for the kit we had got from ebay, the drummer didnt have his own kit. pete heywood had his circle of plyboard from his old band pink fraud, to be used for the stage projection. 

on the day we didnt have any catering or food for the band, but no one complained, poly got on the stage and took the house down. halway through the gig my son asked me to go upstairs. we looked over the balcony, the place was full from wall to wall, back to front, people of all ages, from many different countries, the atmosphere was beyond words. my son said to me ‘ Dad did you do this’ the pride i felt at that moment will live with me forever.

later i stood on the side of the stage with my  nephew alfie, watching the crowd going crazy, poly was alive and so young, her natural charisma shining like a star, my nephew asked me why was a crying. i said well. ‘its the happiest day of my life’Thank you Poly, Saxby, Flash, Paul, Pete Heywood, Oonagh. Luke

My son Jack, Sally, Alfie and Steve Reeve 

daryl, ian, daz and guss, Oonagh and LukeAnd everyone that bought a ticket or helped out with promotion and spreading the word

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Lloyd Brevett, The Skatalites RIP

Skatalites Lloyd Brevett Is Dead

Published: Thursday May 3, 2012 | 9:05 am15 Comments

Lloyd Brevett (2nd left) in the company of his friends and fellow musicians.

Lloyd Brevett (2nd left) in the company of his friends and fellow musicians.

Barbara Gayle, Staff Reporter

One of the founding members of The Skatalites Band, Lloyd Brevett is dead.

Brevett died at the Andrews Memorial Hospital in St. Andrew this morning at the age of 80.

In October 2001, he was conferred with Jamaica’s fifth highest honour, the Order of Distinction and in October 2010, he was awarded the Silver Musgrave Medal for his contribution to music.

The musician’s son Okine Brevett was killed in February after collecting an award on his father’s behalf at the Jamaica Reggae Industry Association Awards at Emancipation Park.

At that time, the former upright bass player of The Skatalites was said to be too ill to collect the award.

barbara.gayle@gleanerjm.com

Lloyd Brevett, the upright bass player for the legendary Skatalites, has passed away at the age of 80 in St. Andrew’s Parish, Jamaica. Brevett had been hospitalized a few weeks earlier due to a series of seizures and a stroke. While he was already in poor health, Lloyd’s health began to decline following the tragic murder of his son, Okine, in February of 2012. Okine had just accepted an award on behalf of his father earlier that night, but the celebration was cut short after he was accosted not far from the Brevett home.

Lloyd Brevett’s musical legacy cannot be understated, although his name sometimes does not get as much mention as other Skatalites members. Lloyd was introduced to the bass at a young age, as his father was one of Jamaica’s first jazz bass players. His father taught a young Lloyd not only how to play bass, but also how to make his own upright bass. As a young bass prodigy, Lloyd would be exposed to many local bands and players through his father’s work, meeting other up-and-comers like future Skatalites drummer Lloyd Knibb, who was learning how to play drums from Esmond Jarrett, who was playing with Eric Dean’s band at that time. Both Knibb and Brevett would eventually go on to play with Eric Dean’s band (as well as many other club and hotel bands), and from there, both became highly sought-after musicians in Jamaica.

As the recording industry began to take off in Jamaica in the late 1950’s, Brevett found plenty of session work, where the best of the local musicians would find themselves doing many sessions together for various producers. It was at Studio One, however, where the core group of musicians that would eventually become the Skatalites recorded some of the most popular tunes of the early 60s. Sir Coxsone would play his Studio One productions at his Downbeat sound system dances, and as the local demand for buying these records grew, Coxsone figured that the people would want to know the name of the band that everyone was dancing to. Coxsone then assembled his finest group of session players, and attracted the talents of other in-demand players like Tommy McCooke (who was working in Nassau), Lloyd Knibb (who was working in Montego Bay) and Lynn Taitt (who was working with Byron Lee and Count Lasher, as well as his own groups), and thus the Skatalites were born.

Lloyd Brevett’s bass work was quintessential to the Skatalites’ sound, even though his bass lines may not always be all that easy to define. That was really his genius coming through, though. Although he learned the instrument from his father, Lloyd had been developing his own style based on all of the styles he played in his earlier career, as well as his understanding of drumming styles like burru and mento, which were uniquely Jamaican. Listening to certain Skatalites tunes, it can be quite difficult to pick out just what Brevett is playing; at times he seems to be all over the place, but it becomes apparent that every note is exactly in its place.

Brevett was also crucial in the transition from ska to rocksteady, as he was the bass player for the Soul Vendors, the studio band that rose from the ashes of the Skatalites and the Soul Brothers.

This is Lloyd Brevett’s legacy; the sublime beauty of his musicianship, a crucial foundation of the ska beat, and a true Jamaican legend. His music will live on in his numerous recordings, from ska and rocksteady to roots and dub, and his memory will endure as one of Jamaica’s best known and most-beloved bass players.

If you would like to donate money to the fund for both Okine and Lloyd Brevett (for funeral arrangements and hospital bills), please see the information listed below. Even though Lloyd was a US citizen, he was unable to receive any health or social security benefits while being hospitalized in Jamaica. His wife (Ruth Brevett) and family would appreciate any assistance during this tragic time. Rest In Peace, Lloyd Brevett.

c/o Lloyd Brevett
National Commercial Bank, Hagley Park Branch –
Hagley Park Road

Acct # 174274584

Western Union –
Ruth Brevett, Kingston Jamaica
876-850-4403
originaljamaicaskatalites@gmail.com

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Jimmy Pursey, The End of An Ego ?

THE GUARDIAN BREVARDA PROGRAM SERVICE OF PROTECT OUR CHILDREN, INC.

Punks Planned Performance Prompts Protest

March 29, 2012 by Protect Our Children

James Timothy Pursey (AKA: Jimmy Pursey)

Protect Our Children has challenged the planned visit of a British sex offender scheduled to perform at a concert in May.  Jimmy Pursey, a member of the Punk group “Sham 69″, is slated to appear May 25th, at a music festival called “Punk Rock Bowling 2012″, in Las Vegas, Nevada.

In 2002, Pursey received a “Caution” from police in Weybridge, U.K., for committing an Indecent Assault on a teenaged girl.  The British “Caution”, which has no corollary in the U.S., allows offenders to avoid trial if they agree to admit guilt and register with the police.  They are also listed on the United Kingdom’s “Registry of Sexual and Violent Offenders”.

Correspondence sent to John Morton, Director of Immigration and Customs Enforcement (I.C.E.), renewed the group’s objection to the practice of granting visas to foreign nationals who have been registered as Sex Offenders in their homelands.  The March 14th letter calls the practice “a slap in the face” to victims of sexual abuse.

In a response dated March 26, Deputy Director Peter T. Edge, said the Department of Homeland Security takes the allegations seriously, and has forwarded the information to the D.H.S. field office.

In 2010, the Brevard County charity joined other child-advocacy organizations in protesting Pete Townshend’s performance at the SuperBowl in Miami.  The group, which informs local citizens about convicted child molesters, mailed a sex offender advisory to residents living in the vicinity of the stadium in Miami Gardens.

Immigration officials were also notified that permitting foreign sex offenders to enter the U.S., is in conflict, with the “Moral Turpitude” clause, found in American immigration law.  Townshend, a member of the British rock band: The WHO, received a Caution in 1983 after his arrest for paying to access child pornography.

SHAM 69

15 hours agoOFFICIAL SHAM 69 STATEMENTA DISCLAIMERWE, THE OFFICIAL SHAM 69, WISH TO MAKE THE FOLLOWING DISCLAIMER STATEMENT:THIS IS DUE TO THE PERSISTENT EMAILS FROM BOTH FANS, MEMBERS OF THE UK/INTERNATIONAL PRESS, AND STATEMENTS MADE VIA SOCIAL NETWORK SITES REGARDING AN INCIDENT THAT TOOK PLACE INVOLVING JAMES TIMOTHY PURSEY (AKA JIMMY PURSEY) BEING ARRESTED FOR INDECENTLY ASSAULTING AN UNDER AGE GIRL.
THIS INCIDENT DID TAKE PLACE, THE GIRL WAS UNDERAGE, THEREFORE LEGALLY A MINOR, AND SUFFERED TRAUMA AS A RESULT WITH LIFE LONG CONSEQUENCES NO DOUBT.
THIS BAND FULLY AND UTTERLY CONDEMNS SUCH BEHAVIOUR AND WISHES TO MAKE IT KNOWN THAT JIMMY PURSEY IS NOT PART OF THE OFFICIAL SHAM 69 LINEUP IN ANY WAY. WE ALSO WISH TO MAKE IT KNOWN THAT HE IS NOT PART OF THE STAFF OR ANY SUBSIDIARY OF THIS BAND.
ALONG WITH MANY FANS, BE THEY PUNKS, SKINS OR WHATEVER, WE TOO HAVE KIDS OF OUR OWN AND SOME HAVE GRAND KIDS TOO. AS SUCH WE DO NOT TREAT THIS AS A LIGHT HEARTED MISTAKE AND NEITHER DID THE GIRL’S PARENTS, ADDITIONALLY NEITHER WOULD YOU IF IT WAS YOUR CHILD OR FAMILY MEMBER.
THIS GIRL WAS A MINOR, AND THOUGH SOME PEOPLE MAY BRUSH THIS OFF WITH A BLIND VIEW IN SUPPORT OF THIS MAN, WE WONT.
SEEING AS WE DO HAVE SOME LYRICAL CONNECTIONS HOWEVER, WE, THE OFFICIAL SHAM 69, HAVE DECIDED THAT IN RESPECT OF OUR MORAL BELIEF AND SUPPORT WE WILL MAKE A DONATION FROM EVERY SHOW WE PERFORM, BE IT UK OR WORLDWIDE, TO THE NSPCC’S CAMPAIGN AGAINST CHILD ABUSE, AND WILL DO SO UNTIL WE RETIRE AS A BAND.
SO STAY TRUE AND STRONG AND WE’LL SEE YOU DOWN THE FRONT.
SHAM 69however……

Hurry up Harry, get that Sham 69 plaque erected

1:46pm Saturday 23rd September 2006

By Yvonne Gordon

A plaque has finally been erected at The Watermans Arms in Hersham to seminal 1970s punk rockers Sham 69.

The band which which was formed in 1975 had several hits, including Hersham Boys, Hurry Up Harry and If the Kids are United.

Hersham residents association chairman, Andy Pinnick said the plaque was put up outside the pub, on Hersham Green, as a tribute to the band’s role in putting Hersham on the map. He said: “The band played there regularly when it was starting out in the mid-1970s, because all its members came from Hersham village.

“We originally wanted a blue plaque but found out from English Heritage that you had to be dead for at least 20 years! We thought green was the best colour.”

The plaque, which was funded by £200 from community donations and £100 from the residents’ association, is made of enamelled steel and is oval-shaped, 20ins by 14ins.

Pub landlord, Tony Blenkinsop, who went to school with the band’s frontman Jimmy Pursey, said although he didn’t live in the village any more, the group had made a big impact.

He said: “The cover of the band’s first album, Hersham Boys, was photographed outside The George Pub in Hersham Road, opposite our old school, Rydens. All the Hersham boys were in the picture.”

The residents’ association began discussions about the plaque in November but there was a delay after controversy caused by Pursey admitting he accepted a police caution in 2002 after forcibly kissing a 16-year-old girl in a Weybridge newsagents.

Pursey said the incident was “exaggerated”. 

  • It’s no Sham: Hersham Boys honoured despite assault2:07pm Thursday 4th May 2006 inLocals will erect a plaque in tribute to Hersham punk rockers Sham 69 despite its controversial lead singer admitting to a caution for indecent assault.The work of frontman Jimmy Pursey will be honoured along with band members Dave Parsons, Rick Goldstein, Dave Tregenna, Albie Slider and Mark Cain.Their 70s hit Hersham Boys which contained memorable refrain “Hersham Boys, Hersham Boys, laced-up boots and corduroys” is credited with putting the town on the map.Plans by Hersham Residents’ Association (HRA) to erect the plaque were put on hold last month after it emerged police cautioned Pursey in 2002 after he admitted he was involved in an incident in a Weybridge newsagents with a 16-year-old girl when he forcibly kissed her on the mouth an incident which left her so traumatised she left her job.Pursey said the incident was exaggerated and added the plaque should be more about the music than the person behind it.Since a meeting of HRA last week, members and locals have come up with the cash to fund the £300 plaque.The plaque will go outside the Waterman’s Arms in Hersham Green and will be in place in the next three months.Andy Pinnick, chairman of Hersham Residents’ Association, said: “Some of the people in Hersham have known Jimmy throughout his life. “He is a little bit impulsive and over the top but he is not malicious.”His behaviour was inappropriate and we are not condoning it but there needs to be an element of understanding.”There is more to him than the negative headlines.” Pursey recently beat more than 600 entrants to win Virgin Radio’s competition to write the unofficial song for the England football team for the World Cup finals in Germany.His single, which will raise cash for the Teenage Cancer Trust, will be recorded later this month and released to coincide with the start of the tournament in June.More about the Walton Hop peodaphiles September 10, 2001. The Old Bailey trial of the pop mogul and former pop star Jonathan King, in which he is accused of a series of child sex offences dating back to the 1970s and 1980s, begins this morning. Back in July, Judge Paget decided, for the purposes of case management, to have three trials instead of one. So the jury will hear only the charges that relate to the years between 1982 and 1987. There are six within this time frame – one buggery, one attempted buggery, and four indecent assaults on boys aged 14 and 15.I have been having an email correspondence with Jonathan King for the past nine months, and last night he emailed me to say, “I think you know, young Ronson, that whichever way it goes for me you could have an award-winning story here, if you’re brave. You can change the face of Great Britain if you do it well. Good luck! JK”I have just returned from New York, and in the canteen on the third floor of the Old Bailey – in the minutes before the trial is due to begin – Jonathan King comes over to make small talk about my trip. “Did you bring me any presents back?” he asks. “Any small boys? Just kidding! Don’t you think it is amazing that I have retained my sense of humour?”He smiles across the canteen at his arresting officers. They smile faintly back. Jonathan has always told me about his good relationship with the police, how kind they were to him during his arrest, and he looks a little crestfallen at their evident withdrawal of affection. “The police are far less friendly than they were,” he says. “Quite boot-faced, in fact.” He pauses. “And there doesn’t even seem to be a senior officer around. I’m getting quite insulted that I’m so unimportant that only constables are allowed anywhere near the case.”He looks at me for a response. What should I say? Yes, his crimes are so significant and he is so famous that it would seem appropriate for a more senior officer to be in attendance? In the end, I just shrug.There are half-a-dozen journalists here today covering the case. In the lobby outside the court, Jonathan approaches some to shake their hands. “Who’s the gorgeous blonde with a TV cameraman?” he whispers to me. “Sorry if this ruins my image.””I felt terrible about shaking his hand,” one reporter says a little later. “I felt disgusting. I was standing there thinking, ‘What’s he done with that hand?’ I should have refused to shake it.””I just asked my solicitor if it’s unusual for the accused to make a point of shaking the hands of the press and the prosecution barrister,” Jonathan says as we walk into court. “He said it was absolutely unheard of!” Jonathan laughs, and adds, “You know, I fully intend to change the legal system just like I changed the pop industry.”And, at that, we take our seats. The jury is selected, and the trial begins.On November 24, 2000, Jonathan King was charged with three child sex offences, dating back 32 years. In the light of the publicity surrounding his arrest, a dozen other boys (now men) came forward to tell police that King had abused them too, during the 1970s and 1980s. Some said he picked them up at the Walton Hop, a disco in Walton-on-Thames run by his friend Deniz Corday. Others said he cruised them in his Rolls-Royce in London. He’d pull over and ask why they were out so late and did they know who he was. He was Jonathan King! Did they want a lift?He told the boys he was conducting market research into the tastes of young people. Did they like his music? His TV shows? Were they fans of Entertainment USA, his BBC2 series? He asked them to complete a questionnaire – written by him – to list their hobbies in order of preference. Cars? Music? Family and friends? Sex?”Oh, really?” Jonathan would say to them. “You’ve only put sex at number two?”And so they would get talking about sex. He sometimes took them to his Bayswater mews house, with its mirrored toilet and casually scattered photos of naked women on the coffee table. Sometimes, he took them to car parks, or to the forests near the Walton Hop. He showed them photographs of naked Colombian air hostesses and Sam Fox. He could, he said, arrange for them to have sex with the women in the photos. (Sam Fox knew nothing about this).Sometimes, within the bundle of photographs of naked women he would hand the boys, there would be a picture of himself naked. “Oh!” he’d say, blushing a little. “Sorry. You weren’t supposed to see that one of me!” (When the police raided King’s house, they say they found 10 overnight bags, each stuffed with his seduction kit – his questionnaires and photos of Sam Fox and photos of himself naked – all packed and ready for when the urge took him to get into his Rolls-Royce and start driving around.)He told the boys that it was fine if they wanted to masturbate. And then things would progress from there. Some of the boys reported that his whole body would start to shake as he sat next to them in the Rolls-Royce. And then he “went for it”, in the words of one victim. None of the boys say that he forced himself on to them. They all say they just sat there, awed into submission by his celebrity. The boys all say that Jonathan King has emotionally scarred them for life, although almost all of them returned, on many occasions, and became the victims of more assaults.Later, Jonathan King will spend his last weekend of freedom – the weekend before the guilty verdicts – recording for me a video diary of his feelings about the charges. At one point, midway through this 20-minute tape, he hollers into his camera about this perplexing aspect of the case. “They kept coming back to me again and again and again, although this vile behaviour was supposed to be taking place!” He laughs, as if he’s delivering a funny monologue on some entertainment TV show. “Why on earth would anybody do that? I’d be out of that house as fast as I possibly could! I’d make damned sure I was never alone with that person again. Mad!”When the police asked Jonathan why all these boys – who have never met or even spoken to each other – had almost identical stories to tell, he replied that he didn’t know. I am determined to ask at least one victim why he continually went back for more.The defence argues that the police actively encouraged claims of emotional scarring when they interviewed the victims, because, without it, what else was there? Just some sex, long ago. The danger, says the defence team, is that if Jonathan is found guilty, the judge will sentence him not only for the acts themselves, but also for the quantity of emotional scarring the victims claim to have. And how can that be quantified, especially in this age of the self, when the whole world seems to be forever looking to their childhoods for clues as to why they turned out so badly.”Jonathan King,” says David Jeremy, the prosecution barrister, in his opening remarks to the jury, “was exploiting the young by his celebrity.”When I first heard about King’s arrest, I looked back at his press interviews for clues, and found a quote he gave Music Week magazine in 1997: “I am a 15-year-old trapped inside a 52-year-old body.”I talked to some of his friends from the pop industry, and one of them said, “Poor Jonathan. We were all doing that sort of thing back then.”I attended an early hearing at Staines Magistrates’ Court. Jonathan King arrived in a chauffeured car. The windows were blacked out. Two builders watched him from a distance. As he walked past them and into the court, one of them yelled, “Fucking nonce!”He kept walking. Inside, he noticed me on the press benches. We had appeared together on Talk Radio a few years ago and he recognised me. On his way out, he gave me a lavish bow, as if I had just witnessed a theatrical event, starring him. Outside, the builders were still there. They shouted “Fucking nonce!” again.My email correspondence with Jonathan began soon after this hearing. In one email, he asked me if I would consider it fair if, say, Mick Jagger was arrested today for having sex with a 15-year-old girl in 1970. I agreed that it wouldn’t be. He told me that he was being charged with the same crime that destroyed Oscar Wilde – the buggering of teenage boys – and we perceive Wilde to have been unjustly treated by a puritanical society from long ago. I wonder if the reason why we look less kindly upon Jonathan King is because he sang Jump Up And Down And Wave Your Knickers In The Air , while Oscar Wilde wrote De Profundis.In another email, he wrote about Neil and Christine Hamilton, falsely accused of rape while being filmed by Louis Theroux, whom Jonathan sees as my great competitor in the humorous journalism market. He wrote, “Louis EVERYWHERE . . . but who on earth would want to cover the Hamiltons, famous for doing NOTHING. Still, I do hope The Real Jon Ronson will have the balls, courage and integrity to take up the crusade (whatever the outcome) that it is GROSSLY unfair for the accused person/people to be smeared all over the media. Over to you, Ronson (we don’t just want a Theroux treatment, do we?)”Later, in court, some of the victims say that Jonathan had a trick of making them feel special, as if they could do anything, as if they could make it big in showbusiness, just so long as they stuck with him (and didn’t tell anyone what had happened). Has King got legitimate grievances against the legal system, or is he simply trying to seduce me in the same way he seduced the boys?His Jagger analogy, I presume, was alluding to some covert homophobia at the heart of the case. But perhaps the real contrast lies somewhere else. Mick Jagger (or, indeed, Bill Wyman) wouldn’t have needed to pretend he was conducting market research into the tastes of young people. He wouldn’t have needed to have promised them sex with Colombian air hostesses. But Jonathan did not, intrinsically, have much pulling power, so he did need those extra little touches. Perhaps the real contrast, then, is one of aesthetics.The Walton Hop closed down in 1990. There were complaints of noise from the neighbours. But the Hop’s home, the Walton Playhouse, still stands. Jimmy Pursey, the lead singer of Sham 69, was one of the Hop’s most regular teenage attendees. He went dancing there every Tuesday, Friday and Saturday night throughout the 1970s. One day, shortly before the trial began, Jimmy gave me a guided tour of the Playhouse. “It’s so hard to explain to people who see in black and white the colour that existed in this club,” he said. “The Playhouse was a theatre for fringe plays and amateur dramatics. But on Tuesdays, Fridays and Saturdays it would become paradise.” Jimmy took me through the hall, and towards the stage.”It was inspirational,” said Jimmy. “This wasn’t table tennis. This was dancing. This was testing out your own sexuality. Normal people would become very unnormal. It was Welcome to the Pleasure Dome. It was everything.”He leapt up on to the stage, and took me to the wings, stage right. We stood behind the curtains. “This is where the inner sanctum was,” said Jimmy. “From here, Deniz Corday [the manager of the Walton Hop] would have the best view of the teenagers who were a little bit bolder, a little bit more interesting.””Bolder and interesting in what way?” I asked.”People like me,” said Jimmy. “If Deniz liked you, you’d be invited backstage and get a little bit of whisky added to your Coca-Cola. Backstage, you see. And you’d go, ‘Oh, I’m in with the big crowd now’. That’s all there was to it with Deniz.””And Jonathan?” I asked.”He’d drive into the Hop car park, and come backstage from the side,” he said. “And we’d all be going, ‘God! There’s a Rolls-Royce outside with a TV aerial coming from it! Ooh, it’s got a TV in the back and it’s a white Rolls-Royce!’ Because you’d never know if it was the Beatles.””But it wasn’t the Beatles,” I said.”No,” said Jimmy. “It was Jonathan King.” He laughed. “A very big difference there!”The Beatles lived on St George’s Hill, in nearby Weybridge, and were often seen driving around Walton in their Rolls-Royces. The Walton area, in the 1970s, was London’s playpen, full of pop moguls and pop stars, letting their hair down, doing just what Jimmy said the teenagers at the Walton Hop did – being “unnormal”. In fact, a disproportionate number of celebrities who are now convicted paedophiles hung around backstage at the Walton Hop, this popular youth club, during the 1970s and 1980s. There was Jonathan King’s friend, Tam Paton, for instance, the manager of the Bay City Rollers who was convicted of child sex offences in the early 1980s. (It was Paton who first introduced Jonathan King to the Hop – they met when Jonathan was invited to produce the Rollers’ debut single, Keep On Dancing.) Chris Denning, the former Radio 1 DJ, was another Hop regular – he has a string of child sex convictions, is currently in jail in Prague, and was friendly with King and Paton.For Jimmy Pursey, the trick was to pick up the girls who were drawn to the Hop to see the Bay City Rollers, while avoiding the attentions of the impresarios who orchestrated the night. “It was fun with Deniz Corday,” said Jimmy. “Deniz would say, ‘Oh Jimmy! Come here! I’d love to suck your fucking cock!’ Deniz was a silly, fluffy man. Then there was Tam Paton.I remember being back here having one of my whisky and Coca-Colas one night, and Tam turned to me and he said, ‘I like fucking lorry drivers’. Chris Denning was more reckless. One time he placed his penis within the pages of a gay centrefold and showed it to my ex-bass player, who proceeded to kick the magazine, and Denning’s dick, and yell, ‘Come on, Jimmy, we’re fucking out of here!’ But Jonathan King was more like a Victorian doctor. It wasn’t an eerie vibe . . . but Jonathan had this highbrow, Cambridge, sophisticated thing about him. The Jekyll and Hyde thing. There wasn’t much conversation with Jonathan. And with Jonathan, you’d always had these rumours. ‘Oh, he got so and so into the white Rolls-Royce’. And they’d always be the David Cassidy lookalike competition winners. Very beautiful.””Would he make a grand entrance?” I asked.”Oh no,” said Jimmy. “It was never, ‘Look at me!’ He never went out on to the dancefloor at all. He was much happier hiding backstage up here, behind the curtains, in the inner sanctum.” Jimmy paused. “The same way he hid behind all those pseudonyms, see? He’s always hiding. I think that’s the whole thing of his life. He always says, ‘That was me behind Genesis! That was me behind 10cc! That was me behind all those pseudonyms.’ But what do you do then, Jonathan? Who are you then, Jonathan?”Jimmy was referring to the countless pseudonymous novelty hits Jonathan had in the late 1960s and 1970s – The Piglets’ Johnny Reggae, for instance, and Shag’s Loop Di Love. These came after his hugely successful 1965 debut, Everyone’s Gone To The Moon, which was recorded while he was still a student at Cambridge. (Before that, he was a pupil at Charterhouse). It was a remarkable career path: a lovely, plaintive debut, followed by a string of silly, deliberately irritating hits.One of King’s friends later suggests to me that it was his look – the big nose, the glasses, the weird lop-sided grin – that determined this career path, as if he somehow came to realise that it was his aesthetic destiny to play the clown. But one cannot categorise his career as a downward spiral from Everyone’s Gone To The Moon onwards. In fact, he has sold 40 million records. He’s had a hand in almost every musical movement since the mid-1960s – psychedelic, novelty bubblegum pop, alternative pop, Eurovision, the Bay City Rollers, 10CC, the Rocky Horror Show, Genesis, Carter The Unstoppable Sex Machine, the Brit awards, and so on.Within two years of leaving Cambridge, he was running Decca Records for Sir Edward Lewis, with his own West End offices and a Rolls-Royce parked outside. “Genesis,” he once said, “would have become accountants and lawyers if I hadn’t heard their concealed and budding musical talent when they were 15 years old.”He is at once seen to be the quintessential Broadway Danny Rose – the buffoonish loser who was forever nearly making it – and also a powerful multi-millionaire whose influence is as incalculable as it is overlooked. He’s hosted radio shows in New York and London, presented the successful and long-running Entertainment USA TV series for the BBC, written two novels, created a political party – the Royalists – and published The Tip Sheet, an influential online industry magazine that, he claims, is responsible for bringing the Spice Girls, Oasis, Blur, Prodigy, R Kelly, and others “exploding on to musical success. We find and help break new stars around the world.”In 1997, he was honoured with a lifetime achievement award by the Music Industry Trust. In a letter read out at the ceremony, Tony Blair acknowledged King’s “important contribution to one of this country’s great success stories”. A galaxy of stars – Peter Gabriel, Ozzy Osbourne, Simon Bates – came out to praise him, although no galaxy of stars is willing to do the same now that he’s been accused of paedophilia.Nonetheless, he seems to delight in being the man we love to hate (theatrically speaking: he is mortified when he thinks his arresting officers really do hate him). “I love to infuriate,” Jonathan told me over coffee in his office, shortly before the trial began. “I deliberately set out to irritate.””Of course,” I said, “should you be convicted, people will hate you in a very different way. This is not a good climate in which to be accused of paedophilia.””Well,” he shrugged, “it’s not as though I’m sitting here thinking, ‘Oh I’m such a nice person. Will everybody please be nice to me.’I know I tend to provoke extreme reactions, so I’m not at all surprised when they arrive.”There was a short silence.”So you see what’s happening now as a continuation of your public image?” I asked him.”Absolutely,” said Jonathan. “And it is so. And it would be absurd not to regard it as so.””But there’s a difference between bringing out a novelty record that nobody likes and being accused of buggering an underage boy,” I said.There was another silence. “Let’s not discuss it further,” he said.September 11, day two of the trial, and things are already looking hopeless for Jonathan King. The first victim – now a painter and decorator from the suburbs of north London – takes the stand. I’ll call him David. Jonathan approached David in Leicester Square when David was 14 or 15. Although David had no idea who Jonathan was, he quickly told him he was famous. “It was exciting,” says David.Jonathan gave David the questionnaire, the one that ranked boys’ hobbies in order of preference. He filled it out. Jonathan invited him back to his house and asked him if he and his friends masturbated together. Jonathan showed him pornographic movies on a cine projector. “We were talking about masturbation,” says David. “He told me to relax. He undid my trousers. He tried to masturbate me, which didn’t arouse me at all. He told me to do it myself, which I proceeded to do. I felt very awkward.”David returned to King’s house on three occasions. Similar indecent assaults occurred each time. Later, Jonathan wrote David a series of letters. “He made it sound like I would be famous,” says David. The prosecuting barristor asks David to read one of these letters to the jury. “‘Maybe you will go on to be a megastar. Now I am in New York. I will call you when I next hit town. In the meantime, keep tuning in on Wednesday at 9pm for Entertainment USA, the greatest TV show in the world.'”David says that Jonathan King has emotionally scarred him for life. He says he cannot hold children. He says it makes him scared and uncomfortable to hold and play with his girlfriend’s little boy.After lunch Ron Thwaites, Jonathan’s defence barrister, begins his cross examination of David. His tone is breathtakingly abrasive. “We are going back 16 years because you decided not to make the complaint until nine months ago,” he says. “You’re not asking for sympathy for that, are you?””I was the one that was assaulted,” David replies, shakily.”Do you think it’s easy for a man to be accused of a crime after 20 years,” says Thwaites. And then: “Are you interested in money?””I am nervous up here,” says David. “You are putting me under pressure. I was sexually assaulted by that man over there.””You must have been fairly grown up to go to London on your own,” says Ron Thwaites. “You can’t have been a boy in short trousers, crying for your mother.”And so on.We are unaware that, during this cross examination, New York and Washington DC are under attack. That night, I receive an email from Jonathan: “Makes whether or not I put my hand on a teenager’s knee 15 years ago seem rather trivial, doesn’t it? Are you dropping KING for the World Trade Centre? Boo hoo!”What do you think of the jury? A lot of ethnic variation which,I think, is probably a good thing. Not Ron’s best day, but not terminal! See you tomorrow. Love JK.”A week later, Jonathan posts an extraordinary message on his website, kingofhits.com: “Well, it’s been a fascinating couple of weeks. Not many people are fortunate to discover first hand exactly what Oscar Wilde went through! This week is the crucial one for me – keep praying. And just one oblique thought . . . when you look at the teenagers from 15 years ago who grew up to be terrorists who killed thousands in America, wonder what changed them into mass murderers. Then wonder what turns other decent teenagers into mass liars.” Of course, they didn’t turn out to have been lying.King’s demeanour remains cheerful throughout our time together. “I am living in clouds and happy flowers and love and beauty,” he tells me one day. “And if I go to prison, I shall enjoy myself.”Even on the one occasion that Jonathan all but confesses to me – “I’m sure you’ve got skeletons in your own closet, Jon. ‘Honest guv! I thought she was 16!'” – he says it with a spirited laugh.When the Guardian’s photographer takes Jonathan’s portrait early one morning before a day in court, he is frustrated to report that during almost every shot Jonathan stuck his thumbs up – as if he was doing a Radio 1 publicity session – or grinned his famous, funny, lop-sided grin into the camera. This was not the image anyone wanted. We were hoping for something more revealing, sadder, perhaps, or even something that said “child sex”, or “guilty”. But Jonathan wouldn’t oblige.One day during the trial, I hear a story about Larry Parnes, Britain’s first pop mogul. He discovered Tommy Steele and Marty Wilde. Like many of the great British impresarios back then, he based his business judgements on his sexual tastes. “If I am attracted to Tommy Steele,” he would tell his associates, “teenage girls will be, too.” Parnes’s West End flat was often full of teenage boys hoping to be chosen as his next stars. If he liked the look of them, he’d give them a clean white T-shirt. Once he’d had sex with them, he’d make them take off the white T-shirt and put on a black one.Wham!’s manager Simon Napier-Bell – who was once invited by Parnes to put on a white T-shirt – has said that the great difference between the British and American pop industries is this: the American impresarios are traditionally driven by money, while their British counterparts were historically driven by gay sex, usually with younger boys – and that British pop was conceived as a canvas upon which older gay svengalis could paint their sexual fantasies, knowing their tastes would be shared by the teenage girls who bought the records. I wonder if the pop impresarios who seduced young teenage boys at the Walton Hop saw themselves not as a paedophile ring, but as the continuance of a venerable tradition.Deniz Corday is desperately worried that the Walton Hop, his life’s work, is about to become famous for something terrible. “Jonathan didn’t want me to talk to you,” he says, “but I must defend the Hop with all my life.” Deniz is immensely proud of the Hop. There is Hop memorabilia all over his flat, including a poster from a Weybridge Museum exhibition, “The Happy Hop Years 1958 – 1990. An Exhibition About Britain’s First Disco: The Walton Hop”.”Every day, someone comes up to me in the supermarket,” says Deniz, “and says, ‘Thank you, Deniz, for making my childhood special.’ Some say the Hop was the first disco in Great Britain. It was terribly influential. Oh dear . . .” Deniz sighs. “This kind of thing can happen in any disco. The manager can’t control everything.”Deniz says that he knows it looks bad. Yes, an unusually large number of convicted celebrity paedophiles used to hang around backstage at the Walton Hop. But, he says, they weren’t there to pick up boys. They were there to conduct market research. “Tam Paton would play all the latest Roller acetates and say, ‘Clap for the one you like the best’. Same as Jonathan and Chris Denning. It helped them in their work.”Deniz turns out the lights and gets out the super-8 films he shot over the years at his club. Here’s the Hop in 1958. Billy Fury played there. The teenagers are all in suits, dancing the hokey-cokey. “Suits!” laughs Deniz, sadly.The years tumble by on the super-8 films. Now it’s the mid-1970s. Here’s Jonathan at the turntables. He’s playing disco records, announcing the raffle winners and grinning his lop-sided grin into Deniz’s super-8 camera. He’s wearing his famous multi-coloured afro wig.Now, on the super-8, two young girls are on stage at the Hop, miming to King’s song, Johnny Reggae. “These were the days before karaoke,” explains Deniz.For a while, we watch the girls on the stage mime to Johnny Reggae. It turns out that Jonathan wrote it about a boy called John he met at the Walton Hop who was locally famous for his reggae obsession. David Jeremy – the prosecutor at the Old Bailey – says that Jonathan’s “market research” was simply a ploy, his real motive being to engage the boys in conversations about sex. But I imagine that the two endeavours were, in Jonathan’s mind, indistinguishable. I picture Jonathan in the shadows, backstage at the Hop, taking all he could from the teenagers he scrutinised – consuming their ideas, their energy, their tastes, and then everything else.The super-8s continue in Deniz’s living room. Here’s Jonathan again, in 1983, backstage at the Hop. He’s put on weight. He doesn’t know the camera is on him. He’s holding court to a group of young boys and girls on a sofa. You can just make out little snippets of conversation over the noise of the disco. He chews on a toothpick, looks down at a piece of paper, turns to a boy and says, “Who’s phone number is this?”He spots the camera. “It’s Deniz Corday!” he yells. “Look who it is! Deniz Corday! Smile at the camera!” He lifts up his T-shirt and Deniz zooms in on his chest.”In 32 years,” says Deniz, “we never had one complaint about Jona-than and young boys, and suddenly, after 32 years, all these old men, grandfathers some of them, come forward and say they’ve been sexually abused and it’s been bothering them all their lives. I think there’s something deeply suspicious about it. Jonathan’s a really nice guy and definitely not a paedophile. Anyway, I think it should be reworded. I think a paedophile should be someone who goes with someone under 13.”The clothes and hairstyles change as the decades roll past on the super-8s, but the faces of the 13- to 18-year-olds remain the same. They are young and happy. Deniz says that, nowadays, we have an absurdly halcyon image of childhood. He says that the youngsters at the Walton Hop were not fragile little flowers. They were big and tough and they could look after themselves. He rifles through his drawer and produces some of the police evidence statements. He reads me some excerpts. “‘There was a crate of Coca-Cola kept backstage, and it was people like Jonathan King and Corday who hung around there. If you were invited back there you would get a free coke with a shot of whiskey.'”Deniz pauses. “Now how ridiculous can you get? I’m going to give the kids of the Hop a shot of whiskey with a coke?” There is a silence. “Well,” he says quietly. “If I gave them a little bit of whisky once in a while, they’re not going to put me in jail for it. I used to call it ‘coke with a kick’. Anyway, we’re not talking about me. We’re talking about Jonathan. Have you heard of any charges against me?””No,” I say.”Exactly,” says Deniz. “This is about Jonathan. Not about me.”Deniz continues to read. The victim making the statement describes life at the Walton Hop and how Jonathan – a regular visitor – once went out of his way to talk to him. “‘I was obviously excited to be talking to Jonathan King. He offered to give me a lift home, which I accepted. This was the first of many lifts King gave me, and I recall that he always drove me home in a white convertible Rolls-Royce. It was an automatic car and the number plate was JK9000. We talked about music, and he often told me that he needed a young person’s point of view. King drove me home on a couple of occasions before he eventually assaulted me. The first assault occurred at a car park, which was situated on the left-hand side of the Old Woking Road. Next to the car park was a field and a wooded area. King seemed familiar with the location. I believe he had been there before. I was sat in the front passenger seat and King was in the driver seat. I noticed that King had started shaking, and I presumed that he needed the toilet.'”Jon Ronson
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The Romper Stomper

The Skinhead Wrestler

In 1979,  I was 13 years of age, and like half the kids on my estate, I  became a skinhead. Down the local youth club i would just love to hang about listening to all the 2tone tracks that were being played. Going to school in my 14 hole pair of Dr Martins, Sta press trousers, school tie turned around the wrong way,  so that  only the thin part was showing, made me feel like a somebody.

At the age of 16, in 1982 i left school and got a job on a fun fair which, had visited Bristol for 2 weeks. After about a year and a half of travelling around the country with the fair i left, and signed on the dole for around 6 months.

By then I was 18 years of age, watching the telly one rainy Saturday afternoon, some wrestling came on the box, i remembered watching it years before with my family, and thought that I’m sure that I could do that. I decided to contact the local venue that held wrestling shows every fortnight, and asked them who the promoter was. The phone call has stuck in my memory forever, like as if it were yesterday. The guy asked if i had a portfolio which of course i said yes too, and they also said if i had any experience which i followed with another quick lie about having done judo for the last few years,

I had two days in which to get a few photos done and to sort out what i will say to the promoter when i met him. The night came for the first meeting, i showed him my photos and just blagged it whilst talking, it was arranged to meet the following Sunday in Liverpool for my 1st bout which would be in Ayr, Scotland,  Determined, the next day i ordered my 1st pair of wrestling boots and shorts.

I travelled up alone, arrived in Scotland and got changed ready for my first match, to tell the truth it went so quick i couldn’t remember much about it. My opponent was a Scouse guy Robbie Brookside, I was more excited than scared, he was about the same size as me. I don’t remember much about the crowd reaction, but due to the fact I am the villain character, they always bay for my blood. The promoter said that i was ok and that the match went well, which made me think that i could make a living doing this, so i trained hard, started to make a name for myself.

In the early days of my career, my wrestling name was Hammer Head, quickly became a villain which i didn’t mind, as there’s no way i could have been one of those good guys.

A few years later i watched  a new film called Romper Stomper and thought,  now there’s a good idea, being that i was a villain i decided to put my wrestling kit away and purchase some new jeans, Dr Martins and a pair of bracers to which i became The Romper Stomper. The next step was to choose the right piece of music in which to walk out to, deciding there was only one track which i could possibly use, and that was the skinhead moonstomp.

In the 26 years of being a pro carreer, i  travelled all over the country wrestling 7 days a week , with only Christmas day off, becoming British heavy middle weight champion, appearances on World of Sport, cable tv, sky and the local news, when the Americans visited.

I wrsesteld non stop, working with a lot of my hero’s like big daddy, giant haystacks, Kendo, Dave Fit Finley, Rollerblade Rocco and Danny Boy Collins, who was in my class at school.

I must say, that as hard as the sport can be on your body, I wouldn’t have changed any of it .

I retired in 2000 from wrestling, after having 3 back operations, so for the next 6-8 months trained other people who wanted to get into the sport.

I enjoyed helping and training people, but missed the part of entertaining,

I decided to try standup, so went to a comedy venue for an open mic session.

The spot was only on me for 10 minutes, and to tell the truth, felt like 1 hour, but I caught the bug.

Robbie Twinkle was born and I started to travel the country once again. I’ve now been entertaining audiences with my comedy show for just over 10 years .

Staying a true skinhead, since my teenage years, I have proved to the finger pointers, who prejudged us as lazy, low life, wasters,.

Never judge a book by the cover!

cheers

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Roy Ellis AKA Mr Symarip Live in Brighton

Roy Ellis AKA Mr Symarip

A Legend of Skinhead Reggae

When the teenage Roy Ellis set sail for a new life in the United Kingdom in 1959. He had no idea what to expect, his mother had left a few months previously, and made a home for her children to join her.

On arrival Roy settled in South London with many other Jamaican immigrants, and found it to be bleak and aggressive. Rife with racism and fear from the local people.  Roy began his love  of music, in church, like many other black people of the era.

“ I really started my music career in London in 1962, As a young man with full blooded music in me, not only I wanted to sing, but also wanted to play an instrument too. So I took up the Trombone. At the same time getting a few lesson from one of the masters Rico Rodriguez, In this time he just got to England, from there onI choose music as my career, singing and playing, and so it all started to where I am today.”

Reggae was finding its feet in the UK and artists were active and playing. Roy got together with some friends and set up his band, The Bees in 1964, and started to perform in small clubs around London. The Jamaican community being quite small at the time, gathered around its own culture and Reggae music. Roys band were discovered by Legendary Laurel Aitkin, who was leading the way in British/Jamaican Reggae in the early part of the 1960’s

The Bees breakthrough came with the chance to play backing band for Laurel Aitkin, who encouraged and helped this young band to climb the ladder, working as producer and promoter for his fellow Reggae musicians.

The new Reggae sound was picking up a large following from fellow council estate kids, who had created their own subculture, a fragment of the Mod culture, which came to be known as Skinheads.  A mixture of white working class English kids, who loved the new sounds coming into their own area.

Although Roy, at first found it hard to find new friends, with strong racial barriers to cross.  He was readily accepted within the Skinhead culture, partly because of his love of music, but mainly because he was a very good amateur boxer. Inter youth cult fighting was a big part of British youth culture during the 60’s. With the Mods and Rockers clashes on South Coast towns hitting the headlines in 1967.

“I got into the mods scene with the other english teenager who was already in it, So at last they accept me,

   But why did they accept me? because  I was a very good Amature boxer from Jamaica, And that`s how I got in to the mods and skinheads scene on till this day.                           

   Someone is got to build the bridges so that we all can cross over doesn`t matter what colour we are.”

“I have very fond memories of Brighton, my mates and me would ride our scooters down from London every Friday night, go dancing in the clubs, kick some Rockers arses, well not me, I was always the guy making the others laugh, but you know, all the teenage things that people do”

With the hunger for new music in the boom years of British music, Reggae found its home and quickly swept the dance halls and charts, with people like Prince Buster, Desmond Decker,  Laural Aitkin leading the way. With Infectious Rock Steady rythms.

Record labels, such as Trojan, Blue beat, Island were doing very well in the UK.

“ Actually I haven`t done any recording in Jamaica, As I said it all started in England,But as singing and playing in a band called The Bees in 1964. We got the luck to be discovered by the one and only late Laurel Aitken who had us as his backing band,and also as our producer, and a promoter. We were touring the UK with him.

Then we got the chance to back Prince Buster, The Ethiopians,  Maytals,  Earol Dickson, The Pioneers, Millie Small, Owen Gray, Jackie Edwards and Desmond Dekker. Then in 1967 we met Eddy Grant, he wrote our first two hits Train tour to Rainbow city, and All Change On The Bakerloo line.

Then in 1969 I wrote Skinhead Moonstomp and Skinhead Girl, and also we recorded the Symarip debut album, Skinhead Moonstomp that went to way up in the hit chart. then it all started

from there.”

Symarip, Skinhead Moonstomp album stormed the charts, which created a boom in the Skinhead Youth cult. The Vietnam war was in full swing. The hippy era began, which took the middle class mods into psychodelia and then flower power. The street kids went the other way into Skinhead working class fashion

A huge show was arranged for Wembley Stadium in 1970, which packed. One half white skinheads, the other half, Jamaicans.

“ Wembley was one of the biggest hightlights of my life, to see this unity of fans, black and white dancing to my songs”

But with the rise of violence associated, the start of football hooligans, it became impossible for Symarip to play anywhere, the press were hyping the violence as a modern menace.

“We were sent to Europe, to pioneer Reggae on the Continent. A completely new sound for them. I Moved to Switzerland, met a lovely lady who became my wife, where I still live”

In 1979 2tone bands like the Specials and Madness paid us the honour of covering some of my songs, which opened it up to a new audience and decade.

Since I`m back in 2005 a lot of great things been happening for me, I`ve been travelling the world knowing the different Countrys, meeting different people, making new friends and new fans, I got the chance to put out two albums, three singles,

Coming out in April my new single with my new video, a lots concerts, lots of media connections etc. It`s been all good for me, could be better, but I`m happy with what I`ve got.

Roy Ellis AKA Mr Symarip will be performing a very special live appearance on June the 9th. The event is titled ‘ The Great Skinhead Reunion’ To celebrate Roys life, The music and youth culture he Pioneered, which has spread the world, from its beginnings in London and Brighton to modern day Indonesia and Columbia. Everybody is welcome, young and old. You don’t have to wear Doc martens or be an active skinhead

GREAT SKINHEAD REUNION ACCOMODATION. i have found 2 more guest houses which are a stones throw from the venue. the first one is £65 per person for the entire weekend including friday and saturday night. there are 20 beds available for our event, so if you would like a full weekend wristband with a room , the total cost per person is £80 (nothing more to pay, this is NOT per night) The second one is double twin room. £70 per night (per room), Family room £75, this option includes breakfast, so add £15 per person for your weekend wristband per person. please contact me asap. as once these rooms are gone i will try and find some more, but dont leave it too late. for this deal please write to symond.lawes@gmail.com

BUY TICKETS HERE

Skinhead Reunion Ticket Price £15.00 Adults