Showing posts with label Half Man Half Biscuit. Show all posts
Showing posts with label Half Man Half Biscuit. Show all posts

Saturday, February 1, 2020

Brothers in the Dust



In Dickens’s A Christmas Carol, the ghost of Christmas present admonishes Scrooge for his lack of charity to those less well off than he. “O God! To hear the insect on the leaf pronouncing on the too much life among his hungry brothers in the dust!”, he exclaims at Scrooge’s declaration that the poor should die to decrease the surplus population. Dickens’s leaf was metaphorical but in Eastbourne, twenty years after Dickens wrote those words, there was a more literal leaf that sought to raise those less well off out of the dust.

Today, on a slightly down-at-heel stretch of Seaside, the road that runs behind Eastbourne’s coastal Royal Parade, sits an imposing buff and red brick building. Topped with a four-faced clock tower and a high pitched roof with a gothic arched window at its gable end, it manages to appear both civic and sacred at the same time. Squashed between Senlac House - where future motorists come to sit their driving theory test - and a National Tyres garage, its signage advertises that it is home to an academy of performing arts and a community arts centre; but this was not always the case.

Leaf Hall – the town’s oldest public building - was named after William Laidler Leaf, Victorian philanthropist and evangelical Christian, who had a holiday home on the town’s Grand Parade. Leaf was aware that the dwellings to the east of the pier were in stark contrast to the hotels, houses and apartments occupied by the wealthy; and he noticed that the occupants were largely unemployed and virtually destitute when the holidaymakers, that the resort’s trade relied upon, left at the end of the season. Wishing to alleviate poverty and, more importantly for Leaf, keep the idle out of the pubs, he persuaded William Cavendish, the 7th Duke of Devonshire and the town’s largest landowner, to donate a space where Leaf could build a venue to sustain and educate the working classes.

The architect was Robert Blessley, who also designed Eastbourne’s Grand Hotel, and construction began in 1863. The building’s commanding exterior was intended to inspire reverence in its users and, once inside, respect for its lecture hall, library and reading room. Books could be borrowed for tuppence a week, at a time when the town had no public library, and penny lectures could accommodate audiences of up to 200. But the focus was not just improvement: there was also a large kitchen and serving room and, in the harsh winters of the 1880s, Leaf Hall dispensed 3,000 pints of soup and 3,000 loaves each week.

Despite these philanthropic endeavours, the people Leaf most wanted to reach were put off by his support for the temperance movement. Allowing the Band of Hope and the Salvation Army to base themselves at the hall, attendance amongst working men dwindled and the building became a target for violence organised by local publicans keen to protect their trade. In fact, this was to be the start of the Eastbourne Riots (an oxymoron if ever there was one – or a Half Man Half Biscuit song) of the 1890s when Sunday processions by the Sally Army would be violently disrupted by paid hooligans and large crowds would gather to watch the spectacle.

As the new century began, Leaf Hall lost its missionary zeal and concentrated instead on being a proto-foodbank and a pre-NHS medical centre where local doctors provided free care to those who could not normally afford their fees. With the advent of the welfare state after the Second World War, Leaf Hall’s philanthropy became largely redundant; although now, in the twenty-first century, the town is hosting a foodbank again.

Sunday, March 19, 2017

Musical Education



One of my kids gave me a 'proud parent' moment last week. This was not one of those sports day/nativity play/school report type of reasons for a feeling of puffed-up pride. No, this was altogether more prosaic but no less important in my eyes. My 12-year-old son was doing his homework in the kitchen and listening to music at the same time. Nothing remarkable in that but what caught my attention was the song that was coming out if his iPad: as he wrestled with his algebra, he was doing it to the soundtrack of All I Want for Christmas is a Dukla Prague Away Kit by Half Man Half Biscuit. I could not have been more happy: this was real education. He told me that he had downloaded that track and Time Flies By (When You're a Driver of a Train) to his Deezer playlist (no, I don't know either). However, he had not discovered these songs entirely independently as, with an eagerly awaited Half Man Half Biscuit gig coming up, I had been playing the Birkenhead band a lot lately; but it was nice to know that my children listen even if it's not to the "hang-up-your-clothes-and-tidy-your-room" stuff.

On Friday night, the gig finally came around at the Assembly Hall in Worthing, a venue I had never been to before; not surprising I suppose, as the forthcoming attractions flyer I was handed on the way in indicated that its bread and butter is tribute bands and revival acts. The latter is not a term that could be applied to Half Man Half Biscuit: despite splitting up in 1986 after only being together two years, they reformed in 1990 and have been making music continuously ever since. Favourites of John Peel, Nigel Blackwell's band occupy a unique place in punk and post-punk music with a repetoire of songs that don't take themselves or anybody else at all seriously.

Drawing on the minutiae of celebrity culture, the set starts off with Bob Wilson Anchorman and soon moves further into singalong territory with Fuckin' 'Ell It's Fred Titmus. It's not all minor telly stars and sportsmen, though; Blackwell is a sharp satirist, too. The perfect Paintball's Coming Home is like a musical Martin Parr photograph in its biting observation: "they go ten pin bowling after work and they're getting married on a Caribbean beach...they've got a German Shepherd dog called Prince, the one called Sheba died." And we all join in on the pay-off line, "If I'd known they were coming, I'd have slashed me wrists." There is a warmth to Half Man Half Biscuit songs as well, albeit a nostalgic one. We get a glimpse into that world of broken Subbuteo players and dodgy Scalextric transformers on Dukla Prague and the title track from the Trumpton Riots EP plays on our childhood memories; and pretentiousness is punctured with the rousing Joy Division Oven Gloves, complete with oven glove waving from the audience.

Clever and funny as the lyrics are, it is all superbly underpinned by the band's sound. Neil Crossley (who incidentally is the spit of Dudley Sutton these days - I'm sure there's a song title in there somewhere) and his rumbling bass combines superbly with Blackwell's choppy rhythm guitar and Ken Hancock's ("the first man in Wallasey to have a continental quilt") lead guitar to create a powerful post-punk racket; and as if to confirm it, they play a raucous cover of Camper Van Beethoven's mid-80s classic, Take the Skinheads Bowling - another one for my son's musical education.