Downland: part nine

Electric trams glide and rattle; an endless promenade. Their delicate waltz stretches the length of the street: from St. George’s Circus at the bottom, to the terminus at the top. From the overhead cables, sparks shower down outside the doorway of number 72 Waterloo Road. The cascade briefly illuminates the lettering on the window boards: ‘George Burchett – Artistic Tattooing – Crude Work Covered or Removed – Antiseptic Treatment’. It is late in the afternoon on a day late in November. Ridler is standing on the step; below him on the pavement is Gladys. She is impatient to catch the tram back home. Seventy-five times in six months they have made this trip; three times a week since 24th May 1934 – the date when Ridler had put his skin in Burchett’s hands with a formal letter of permission - they had travelled up from the clipped, suburbia of Raleigh Gardens in Mitcham, to the metropolitan mayhem of Waterloo Road. And now that it was finished, Ridler was taking one last look at this scene, taking in the sensual bustle before him.

Warm orange lights from shop windows reflect on wet glassy pavements. Angelic haloes of bright, white mercury street lamps plot a route that melts into a blue-grey infinity in the smoggy middle distance. Beneath the lights of this heavenly procession a more moribund parade: be-hatted travellers flood on foot to and from the railway, cheap cardboard suitcases hanging at their sides; passengers of a superior bearing, sweep through in Hackney carriages; market traders and barrow boys running their stalls from their pitches to the arches of their night-time perches. The carts’ clatter adds to the cacophony: steam trumpets from the engines above pierce the darkness; urgent bursts of the policeman’s pea-whistle direct the traffic at the junction with The Cut; the paper seller at the corner alternates his cry between “Star, News and Standard!” and “Germans re-arming, says Churchill!” The air is cold and damp and heavy with a sulphurous taste – the beginnings of a London particular from Bankside and the home fires burning in the Coin Street terraces. A hint, also, on the breeze of yeast and hops drifting downriver from the Anchor brewery to join the malodorous soup. He had known chaos nearly twenty years before - the noise and stench of war – and it was on its way again.

Downland: part eight

As the hedgerows lining the road began to recede, Ridler could see the light at the entrance to his own landed estate: Deanland Caravan Park. And, passing through the symmetrically arranged white, beige, and beryl boxes, he found his own aluminium castle, his own Firle Tower: a 1951 Fairholme Romeo caravan. Through the net-curtained window, in the lit interior – the mantle of the bottle gas light shining brightly – he could see Gladys; reading glasses on, rollers in, reading Reveille. He could hear the low murmur of the radio set; home service or light programme? He could not tell. Probably the light programme. The Clitheroe Kid would have been on earlier. Gladys was persisting with it, despite refusing to find it funny because it had replaced her beloved Educating Archie at the end of its series. Every time that ventriloquist’s dummy had been left in a taxi or on a train she had worried herself into a frenzy. Ridler blamed himself; they had never had children. On the cover of Reveille was a picture of Elvis Presley, home on leave from the army. He knew that Gladys must be looking again at the spread of pictures of Presley posing in his colonial mansion and at the RCA recording studios. She had been just as interested earlier in the year when there were stills of him having his conscription haircut. The superficiality of the quiff and hips of this rock ‘n’ roller struck him as pretence compared to what he had done. Ridler had indelibly marked himself and, only fifteen years before, he had become the world’s highest paid showman. And it had led to here: a caravan near a village in the shade of the Downs. The trail of exile and exhibition, the path of failure and desperation, the sunlit peak of equilibrium and acclaim – it led to here. He took off his jacket, held out his bare forearms and examined his striated skin with its broad African equid brindling. He pushed down the handle with his tattooed hand, pulled the door out towards him and went in.

Downland: part seven

Striking out for home, the darkness enveloping him, Ridler re-crossed the deserted Lewes Road and immersed himself in the narrow lanes that would lead him back through the village of Ripe, past Deanland Wood and the old airfield, and to the caravan park and home. Second only to being on the Downs, these lanes felt like carefree liberty. The hedgerows, with the tips of hazel and blackthorn stretching overhead silhouetted against the star-studded sky, and the scent of hawthorn and dog rose filling the warm air, were a haven for Ridler, an enclosure of safe passage that would carry him home unmolested. He had rarely met a soul on these lanes and when he had, he was able to melt into thicket and darkness to keep himself concealed. The nearer he came to Ripe the more he felt at ease. He was tolerated in the village - some went out of their way to talk to him queuing in the post office or the village shop – but any voluntary encounters were borne of fascination rather than human decency. When he had first come here, they had sent a reporter and a photographer to the village shop. The picture of the cheery shopkeeper handing a packet of sugar across the counter to Ridler had been on the front page of the local newspaper. That was in stark contrast to the fearful, mute incomprehension he was met with from the grocer’s wife and daughter.

As he came into the village, he could see the lights from the Lamb and, through the windows, the drinkers finishing their last drinks of the night. He had timed his return well; half an hour later and staggering, swaggering farm labourers would be exchanging their final boasts and threats to each other in the street – always a danger. Two years before, returning from the Downs at this time, he had seen the Writer and his wife arguing drunkenly, violently outside the pub, the landlord standing imperiously on the step, the drinkers crowded at the windows. Judged and outnumbered, the Writer had started to run straight at Ridler, it had seemed, standing in the hidden shade of a yew; but he had passed by, only feet away, spitting curses and insults against his wife and the publican, and had staggered off toward Deanland Wood. Ridler recalled seeing the Writer there too, in that time before, creeping about the wood one afternoon with binoculars in one hand and a small book in the other. Ridler had guessed he was bird spotting but the unsteadiness of his demeanour and the noise he made with every twig-snapping step meant that any bird would have flown. The Writer had not even spotted Ridler close at hand among the trees; his powers of observation were surely dulled. He had seemed like a man numbed, in a trance. It was only later that Ridler heard of the nature of the Writer’s treatment and the reason for his stay in Ripe; but still none of this was able to explain the events of a year ago, up there, on the Downs. Ridler, looking back over the village, could just pick out the line of those hills in relief against the midnight blue starlit sky, high above the flat parochial fields the lane now led him through.

Curiosity Shop

A white-coated grocer smiles indulgently and hands provisions across the shop counter to a tall be-hatted figure. The customer is dark-coated and his smile is less easy to read: not full enough, and obscured by the broad ebony striations of his face, he has a look of hesitancy at this scene choreographed by a Brownie-wielding photographer. It is the early 1950s and the keeper of the Ripe village shop and Horace Ridler are illustrating a story on the villagers’ acceptance of a curiosity in their midst.

I saw that photograph and article a few years ago in a local newspaper’s archive. Quite why the most famous tattooed man of the twentieth century – or of all time – chose to live in East Sussex, it did not say; many of the details of Ridler’s life are vague or lost. But what is known is that Horace Ridler, better known as the Great Omi or the Zebra Man, retired at the height of his fame in 1950 to a caravan park in Deanland, between Golden Cross and Ripe. Only 10 years earlier he had been touring America with the Barnum and Bailey circus and was reputed to be the world’s highest paid showman.

Ridler was born into a wealthy family in 1892 and, as a young man, was commissioned as an officer in the army. He had inherited, but quickly frittered away, his father’s wealth before the age of 22, when he left Britain for active service in the First World War. Despite experiencing some of the horrors of the Mesopotamia campaign, Ridler survived and was demobbed at the end of the war with a small pension and the problem of how to earn a living.

Acquiring some crude pictorial tattoos, Ridler found work exhibiting himself at travelling fairs throughout the 1920s; but this was never enough to support him and his wife, Gladys. In 1934 he decided to take drastic action. Subjecting himself to 150 hours of tattooing at the hands of George Burchett of Waterloo Road, London, Horace and Gladys travelled from their suburban home in Mitcham, Surrey three times a week for six months. At the end, Ridler had transformed himself with broad, black stripes over his entire body, face and skull. Augmented with piercings to his ears and septum, filed teeth and native costumes, Ridler became the Great Omi – after Omai, the Tahitian native Captain Cook brought to London in 1774.

The effect was instant: Ridler became one of the biggest attractions in England and France, exhibiting himself to thousands. But it was when the Ridlers sailed across the Atlantic in 1939 that his career as the world’s most tattooed man really began. The Great Omi was the star of that year’s World Fair in New York and he spent the next three years touring America and Canada. Wanting to help with the war effort - an unsuccessful attempt to re-enlist with the British Consul in New York had already been made - Ridler returned to Britain in 1942 to entertain the troops and promote government war bonds.

After the war, Ridler returned to performance with Gladys as his compere, Omette, and became even more popular in Britain than he had been before. And then at the height of it all, the Golden Cross Caravan Park beckoned. At 6’ 4” tall, and with his alabaster skin accentuated by the thick, black lines of his tattoos, Ridler was an imposing sight; but by the time of his death in 1969 he was a benign and familiar figure in the country lanes around Ripe, heading off to the village store with his shopping bag.