Political gossip. Mick Jagger fondled by MP. Cabinet Minister thrown out of pub

In Sohemia last night: Mark Seddon (left) and Martin Rowson

I went to the Sohemian Society in London last night to hear about “Gay Hussar Nights”.

The evening was billed as two insiders’ journeys through Bollinger Bolshevism with the Rabelaisian Left: “Former Tribune editor and Labour Party National Executive member, turned Al Jazeera TV correspondent Mark Seddon and multi award-winning cartoonist Martin Rowson will chew the cud and spit it all out for your delectation in an evening of downright irreverence and much jocularity all laced through with a healthy contempt for the British political and media establishment.”

And so, indeed, it turned out.

The Gay Hussar is a famed Soho pub that, in pre-Blair days, was the haunt of left wing journalists and politicians. In the 1960s, the owner threw prominent Labour Party politician George Brown out of the building when, uninvited, he started to feel-up the woman sitting next to him – which was said last night to be “the only known case of a serving Foreign Secretary being thrown out for being drunk and disorderly”.

There were also stories about “the great left wing Labour MP and serial fellationist Tom Driberg” – a gay friend of gangsters the Kray Brothers and rumoured to be a Soviet agent via the Czech intelligence service.

“When Tom got very excited about the swinging sixties,” Martin Rowson said last night, “he tried to entice Mick Jagger to stand as a Labour MP and had dinner with him in the Gay Hussar. Everything was going swimmingly well until he started fondling Mick’s knee and rather blew it, as it were.”

There were two other people at that dinner: Mick’s girlfriend Marianne Faithfull and (the poet) W.H.Auden. While Tom and Mick were talking about Labour Party politics and the coming revolution, W.H.Auden asked Marianne:

“Tell me. Have you ever smuggled drugs into the country?”

To which Marianne mumbled a reply. 

“Ever take them up the arse?” asked W.H.Auden

The evening broke up shortly afterwards.

Mark Seddon is a man who obviously shares my taste for the bizarre as, last night, he recommended people should take holidays in the people’s paradise that is North Korea – he has been there seven or eight times. He also told another story about George Brown.

The esteemed Labour politician was at a ball in Lima, Peru. With music playing and, having had quite a few drinks, George Brown was feeling ‘tired and emotional’ and went up to a vision of loveliness in a long gown, saying:

“Beautiful, beautiful lady in the red dress, can I have this next dance?”

To which the reply came: “Certainly not. This is the Peruvian national anthem… and I am the Cardinal Archbishop of Lima.”

Fanny & Stella: “I had wanted to write a book which was completely gay”

Last night, I had a gay old time with Chaps in Dresses.

Perhaps I am old-fashioned at heart. Like many others, I lament the change in meaning of the word ‘gay’.

But, last night, the highly esteemed Sohemian Society hosted an evening billed as Chaps in Dresses.

The evening started with the recitation of a limerick from famed Victorian porno publication The Pearl, circa 1879-1880.

There was an old person of Sark,
Who buggered a pig in the dark;
The swine, in surprise,
Murmured “God blast your eyes,
Do you take me for Boulton or Park?”

Last night’s Chaps in Dresses was a talk by writer Neil McKenna nimbly plugging his new book Fanny & Stella: The Young Men Who Shocked Victorian England about Boulton and Park.

The Sohemian Society meeting took place in an upstairs room at the King & Queen pub in Foley Street in what I think estate agents now call North Soho. It was a stone’s throw – or as Neil McKenna put it – “a strong ejaculation away” from 19 Cleveland Street, the site of a famous Victorian male brothel.

Fanny & Stella is a merry tale of Victorian men who liked to dress as women – Fanny and Stella were actually Frederick Park and Ernest Boulton who, according to the book’s publicity, had their “extraordinary lives as wives and daughters, actresses and whores revealed to an incredulous public” at a show trial in Westminster Hall “with a cast of peers, politicians and prostitutes, drag queens, doctors and detectives” in a “Victorian peepshow, exposing the startling underbelly of nineteenth century London.”

But I was equally interested in Neil McKenna’s tale of the problems he had getting the book published. He gave a health warning before his talk:

“When I did a talk in Kirkcudbright in Scotland,” he explained, “in a hall where the average age was about 82, they provided not one but two defibrillators. We got through without mishap but then, a couple of weeks ago at Gay’s The Word, we were doing very well when suddenly a lesbian fainted and had to be carried out. Then I did a talk at Waterstone’s Gower Street and I was just getting into my stride when a woman rather ostentatiously walked out.

“We must also spare a thought for poor Virginia Blackburn, a reviewer for the Sunday Express who read my book and said she was no prude but felt she had to skip over some passages – which begs the question What sort of ‘passages’?”

Neil McKenna believes that, until very recently, gay history has been largely written by heterosexuals who “have an agenda” but, to an extent, things have slightly improved. For example, this month is Lesbian, Gay, Bisexual and Trans-Gender History Month – a title which, Neil McKenna admits, is “a little bit of a mouthful”.

“Gay history, as generally told,” Neil said last night, “is a history of criminality, repression and punishment but, actually, gay history is also the history of people who fall in love, people who go out and have sex with each other, people who create a sub-culture and who form an identity. And that’s really what I wanted to write about, although the story in the book is framed within the context of a criminal trial.”

Ernest Boulton and Frederick Park were arrested in drag outside the Strand Theatre in 1870 and put on trial in 1871.

“My publishers, Faber, were a little ‘challenged’ by the content of the book when I first delivered the manuscript,” Neil admitted last night. “They went a bit green and then a bit white and then they went a bit blue and, more or less, said This is not at all what we were expecting. I said Well, you’ve met me. What were you expecting? Hardly Patience Strong.

“So they were all a bit tense and we had quite a few tense weeks of discussions and chit-chats. My agent sort-of abandoned me and said: You’re on your own. But it was all resolved because Stephen Page, the CEO of Faber, read the book and announced that he liked it. So suddenly everyone liked it, which was rather useful.

“Instead of having a book they were rather sceptical about – I think largely because it’s an in-your-face book – they got behind it and I think it’s quite new and quite exciting for Faber to publish a rip-roaringly gay, unmediated, utterly-butterly book about gay men, drag, bottoms, fucking and cock-sucking.

“I had wanted to write a book which was going to be completely gay. I was fed up with writing stuff that had to be seen through a prism of heterosexuality. I just thought I’m going to go for it. I’m going to write a book that is totally and completely gay. I’m going to call Fanny and Stella ‘she’ because that was what they called themselves… and that was a little bit of a sticking point again at various stages of the publication process. I much preferred to call them ‘she’ and that was a battle I won.

“I wrote the book because I’d finished my book on Oscar Wilde and I was looking for another subject. I had mentioned Fanny and Stella in the Oscar Wilde book and I wondered if there was any mileage in them.

“I discovered there was a full trial transcript in the National Archive, put together with maybe 30 or 40 depositions and maybe 30 or 40 letters. It’s remarkable, because most Victorian trials don’t survive. Sometimes there’s a shorthand account of a trial or part of a trial but, usually, we’ve only got fragments. I think that’s because the Public Record Office was bombed in the War and lots of stuff was destroyed. But also lots of stuff was never kept. It was never considered important to keep. So I’m very grateful to the the succession of people at the National Archive who thought this was – maybe – important to keep.

“That was my first step… and then I found curious things like a ledger of Treasury payments to some of the witnesses in the trial and to some of the policemen in the trial. It was strange, because normally the Treasury shouldn’t be paying witnesses, even in 1870. So why were there payments to some of the witnesses? That started little alarm bells going off in my head. And, as I probed and probed, I discovered that there was… well, Fanny and Stella were accused of conspiracy to induce and incite men to have sodomitic sex with them.

“But there was also a parallel conspiracy… the police, probably the Home Secretary, certainly the Attorney General and perhaps Sir Richard Mayne, the Chief of the Metropolitan Police had all conspired to create a show trial, to make an example of two young cross-dressers.

“I discovered Fanny and Stella had been followed for a year. They had been under surveillance for a year. In the MePo files – the Metropolitan Police files – in the National Archive, there are also surveillance reports not of Fanny and Stella but of various other people who were considered a threat to the State. So we know in the late 1860s, 1870s, Britain was becoming a little bit of a police state, because lots of people were being surveilled.

“But why were Fanny and Stella such a threat? What was the problem with two very silly young men? They’re not intellectuals, they love to dress up, they love to perform, they love the theatre and when they weren’t in the theatre, they were on the streets selling their bottoms to raise a bit of cash to buy frocks so they could perform. They were very silly boys. They were not a threat. They were not terrorists. They were not Fenians. So why bother?

“The death penalty for buggery was only abolished in 1862, eight years before the arrest of Fanny and Stella. I think it has something to do with sexual identity.”

But, even so, why the big hoo-hah, the conspiracy and the trial in Westminster Hall? And why did the jury find them innocent after deliberating for only 53 minutes?

“You’ll have to read my book,” Neil McKenna said last night.

What I discovered in a Fitzrovia pub after I won the EuroLottery…

I won the EuroLottery two days ago.

The prize was £2.90.

Winning the Lottery is relevant to something that happened last night.

The famous Austin Osman Spare in 1904

I had never heard of Austin Osman Spare until last night. He is one of those boy geniuses who had a wonderful future behind him.

Is it better to be famous when you are young, then drift into obscurity? Or to be unknown, get acknowledged late in life and then die famous?

Born in 1886, Austin Osman Spare was, by 1904, being called a “boy genius”, allegedly the youngest ever artist exhibited at the Royal Academy’s Summer Exhibition. He was, says his new biographer Phil Baker, “hit by fame and then hit by obscurity”.

In 1908, the Art Journal wrote: “Can there be anyone in London interested in Art who has not heard of Austin Osman Spare?”

“This,” said Phil Baker last night,”becomes ironic as the century continues, when you’d really be very hard-pressed to find anyone who had heard of him.”

Phil Baker’s 2011 biography of Spare

Phil said this last night during a Sohemian Society meeting in the upstairs room of the Wheatsheaf pub in Fitzrovia – a pub where Austin Osman Spare regularly drank, 1950-1955, forgotten by the art world.

He died in obscurity in 1956, though he merited an obituary in The Times which said that “for most of his life he did not mix in what are called ‘artistic circles’. Not Chelsea, Fitzroy Street, Bloomsbury or Hampstead claimed him, but for years a little flat ‘in the south suburbs by the Elephant’ far removed from the coteries, deep-set in the ordinary life of the people.”

He was a draughtsman, painter, surrealist and occultist.

Spare’s drawing “Ascension of the Ego from Ecstasy to Ecstasy” (1913)

In the 1930s, impoverished, Spare was selling ‘Surrealist Horse Racing Forecast Cards’ for five shillings via a small ad in the Exchange and Mart paper.

“The reason he hit on this in 1936,” explained Phil Baker last night, “was because Britain had just had a big Surrealist exhibition. When he first started doing these cards, they were called Obeah cards – Obeah being a kind of African magic.

They were kind of like Voodoo cards. They are an artwork based on gambling, which is quite a rare combination and the only similar thing I can think of is Marcel Duchamp’s Monte Carlo Bond in 1924.

“Marcel Duchamp came up with a roulette system and said that, in future, he was going to draw or sketch on chance. So his roulette system was going to be his artwork. And it’s oddly fitting for Spare, I think, because of Duchamp’s remarks on the Lottery of Posterity.

“Duchamp said that all artists are actually gamblers – Artists throughout history are like the gamblers of Monte Carlo and this blind lottery allows some to succeed and ruins others. Posterity is a real bitch. It cheats some, re-instates others and reserves the right to change her mind every fifty years.

Spare’s “Portrait of the Artist” (1907) – now owned by Led Zeppelin’s Jimmy Page

“Spare’s career had another peculiar turn around this time, when Adolf Hitler tried to commission a portrait from him. Spare refused and briefly became a hero in the local papers. I think maybe there was an approach made to him by someone at the German Embassy who had seen a picture of Spare looking a bit like Hitler because, for a time, he had a ‘Charlie Chaplin’ moustache a bit like Hitler’s. Spare later did create a picture merging his own features with Hitler’s which, in art historical terms, was unusual at the time.

“He also supposedly photographed himself as Christ on the Cross. If he really did do that, then the photos don’t survive. But this is a very odd art practice for someone in that period.”

There is also an artwork in which Spare seems to have drawn himself as a woman; the picture was later owned by author E.M.Forster.

“Art historically,” said Phil Baker last night, “this is completely unlike anything anyone else was doing at the time. This idea of an artist doing himself as other people waits for… I think Cindy Sherman is the person who’s really made it famous more recently.

“And there’s a Japanese artist called Yasumasa Morimura who’s done himself as a Pre-Raphaelite woman and as Hitler and as Chairman Mao.

“This alone, you would think, might give Austin Osman Spare a bigger place in Art history. Instead, he’s completely vanished. He’s chiefly remembered as an occultist, which begins by him being seduced by an elderly witch in Kennington when he was a child.”

But that’s another story about an interesting man.

The transvestite corrupt police officer + a comic cycling to the Edinburgh Fringe

Martin Soan naked, before his bicycle accident

A couple of days ago, a car knocked comedian Martin Soan off his bicycle in a road just south of Tower Bridge in London. The car did not stop.

I saw Martin last night. He said he was “OK apart from a sore bum. But the bike’s a write-off. Absolute nightmare. Smashed.”

We were at last night’s Sohemian Society meeting.

As soon as Martin walked into the room above the Wheatsheaf pub in Rathbone Place, he recognised it as an early alternative comedy venue decades ago: the Guilty Pea.

“The only comedy clubs around then,” Martin told me, “were the Guilty Pea, the Sombrero – which was more of a variety-type place – the Comedy Store, the Earth Exchange and Malcolm Hardee’s Tunnel club. I think the Sombrero opened up before the Comedy Store.”

Last night’s Sohemian Society talk was by Professor Judith Walkowitz of Johns Hopkins University in Baltimore, who has written a book about London’s Soho in the 1920s, 1930s and 1940s: Nights Out Life in Cosmopolitan London.

She was surprised, perhaps because she is an American, to find out that the Metropolitan Police’s extensive and now well-publicised corruption in the 1950s and 1960s stretched back well before then.

After her talk, conversation turned to an era after the period covered in her book when Sohemian Society organiser Marc brought up the subject of Harold ‘Tanky’ Challenor, a former World War II SAS man who became a corrupt transvestite CID officer at the legendarily corrupt West End Central police station in London – the station which covered Soho.

Challenor was the model for Inspector Truscott in Joe Orton’s play Loot and apparently used to pretend he had to work undercover as an excuse to dress up as a woman when, in fact, everyone knew he was a transvestite and, when he walked into a Soho pub or club in his female ‘disguise’ , everyone immediately recognised him.

This talk of policemen dressing up led Martin Soan to tell me about a police drugs raid on a pub in Portobello Road around 40 years ago, when Martin was an 18-year old plying his then-trade of Punch & Judy man.

“It must have been in the early 1970s,” he said. “I used to go to the pub to build up my courage to do the Punch & Judy show. I was in there at lunchtime, the sun was out and a twelve-man police team came in, supposedly in disguise.

“They were pretending to be painters and decorators, but they were wearing these perfectly-laundered overalls. They looked like they had come straight out of the packet and still had creases where they had been folded. There was no dirt on them – nothing – but they had obviously stood the policemen in a line and got some paint and flicked it onto the overalls.

“They walked into the pub and everyone just said: Uho… It’s the police! and most people who were carrying drugs just walked out of the pub. I think they managed to arrest some poor old bloke who didn’t know what day of the week it was.”

Martin also told me he is thinking of reviving his Greatest Show on Legs act (not the Punch & Judy act but the one involving the infamous naked balloon dance) with Steve Bowditch and Martin Clarke at the Edinburgh Fringe this year – but he has not yet decided.

“It’s the cost,” said Martin. “Going to the Fringe costs a fortune – even the free shows – because you have to pay for accommodation and transport up there. I am thinking of cycling up.”

“Cycling up to Edinburgh from London?” I asked. “That’s 400 miles each way.”

“I have a trailer to pull behind my bike now,” said Martin. “As you know, I have a few props. I’ve got a…”

“Hold on,” I said, “Hasn’t your bike been destroyed?”

“Well yes,” said Martin, “obviously there are a few issues surrounding my biking capacity at the moment, but I have a trailer for it now and I can fit the miniature Irish dancers and the whole show into it, though I couldn’t take my hydraulic lifting chair. So I am thinking of cycling up. I can make it to Norwich.”

“Norwich?” I interrupted. “That’s not on the way to Edinburgh.”

“Well,” Martin explained patiently, “you’re going by car. I’m going by bike, man. I would start off about two weeks before… Make it to Norwich, where I know some people, stay the night… Lincolnshire’s after that and I know someone I can stay with in Lincolnshire… And then I know someone in Hartlepool where I can stay… The major thing is, obviously, on a bike, I can’t do the motorways… And even the country lanes are dangerous on a bike, especially with a trailer behind it…

“But it’s really cool… I would have a lovely, lovely time… Loads of caffs and cake shops and cycling through villages… Not that I’m fond of cakes myself, but I do like a cake shop… I like the tea and they often do a sandwich supplement to their cakes…”

“Oh, that’d be fine, then,” I agreed.

The eccentric UK cult of the Kibbo Kift Kindred & the Greenshirts of the 1930s

The Kibbo Kift Kindred were keen on costumes & ceremonies

I was at the Edinburgh Fringe in 1976 (yes, I am that old) but sadly I did not go to see a rock musical called The Kibbo Kift at the Traverse Theatre which was, as far as I can remember, at that time, a rather ramshackle room up some metal stairs.

I am very sad I did not see the musical, written by Judge Smith (his real name) who co-created heavy metal rock group Van der Graaf Generator in 1967.

But last night I went to a Sohemian Society meeting to hear Judge Smith (now bald – aren’t we all) extol the eccentric virtues of the now almost totally forgotten 1930s movement called the Kindred of the Kibbo Kift… and its highly charismatic leader John Hargrave – an illustrator, cartoonist, wood carver, thriller novelist, inventor and psychic healer.

By the age of 17, Hargrave was Chief Cartoonist for the London Evening Times.

After the First World War, he joined the Boy Scouts and, a charismatic outdoor man, he was soon appointed Commissioner for Woodcraft and Camping. In 1919, now calling himself ‘White Fox’, he married the leader of the Merry Campers – part of the Camp Fire Girls movement – called Ruth Clark (her ‘Woodcraft name’ was ‘Minobi’)

John Hargrave started the Kibbo Kift Kindred in 1920 as an anti-war breakaway from Baden-Powell’s more militaristic Boy Scouts. Hargrave’s aim was to encourage “outdoor education, the learning of handicrafts, physical training, the re-introduction of ritual into modern life, the regeneration of urban man and the establishment of a new world civilisation.”

These aims were to be accomplished by hiking and camping. “Picturesque and dramatic public speaking” was also encouraged.

The man sitting next to me in the Sohemian Society meeting last night had come down to London all the way from Leicester just to find out more about this extraordinary group.

During the Kibbo Kindred’s weekend hiking and camping extravaganzas, members were encouraged to make their own tents and wear handmade uniforms – long Saxon-styled hooded cloak , belted tunic and shorts for men; knee-length dress, leather belt and Valkyrie-style leather helmet for women. They liked a bit of elaborate ritual and ceremony, did the Kibbo Kift. At larger ceremonial meetings, the KK’s different Clans, Tribes and Lodges paraded with their tribal totems – everyone was encouraged to carve their own personal totem pole and parade round with it. Their tents were decorated in bright colours and their elaborate robes and regalia embossed with symbolic designs were somewhere between Hiawatha and Art Nouveau.

They used the native American greeting of the outstretched arm and raised open hand (to show you held no weapon) and Hargrave was “somewhat annoyed” when he discovered that the Italian Fascists’ raised arm salute looked exactly the same. Hargrave dropped the hand greeting when too many photos of Nazis in Germany with raised arms “caused confusion”. He did not like Fascists.

The Kibbo Kift sound like a bunch of amiable loonies but, involved in the Kibbo Kift, were suffragette Emmeline Lawrence, photographer Angus McBean, social reformer Havelock Ellis, biologist Julian Huxley and author H.G.Wells.

By 1925, Hargrave had switched his interest from ‘back-to’nature’ to the political Social Credit movement, which aimed to eradicate poverty and unemployment. The Kibbo Kift Kindred split when Hargreaves refused to recognise a new South London Lodge called ‘The Brockleything’. He formed the more political Green Shirts; the ‘back-to-nature’ diehards formed The Woodcraft Folk organisation (which still exists today).

In 1930, Hargrave formed a “Legion of the Unemployed” in Coventry. Wearing green paramilitary uniforms and berets, these political activists became known as the Legion of the Kibbo Kift and, by 1935, were known as The Green Shirt Movement for Social Credit, marching through the streets with their own bands of drummers. In 1935, they put up a Parliamentary candidate under the banner of the Social Credit Party of Great Britain and Northern Ireland, but lost their deposit.

As Judge Smith explained to the very crowded room above a pub last night, the Green Shirts were the largest uniformed paramilitary street-army in 1930s Britain. They supported and promoted the Social Credit movement which, basically, said the Western banking system based on massive debt (the economic system makes money by lending money) is mad and inevitably results in periods of boom and bust. They had more followers than Oswald Mosley’s Blackshirts, yet have been totally forgotten.

They were idealistic and had a particular dislike of ‘fat cat’ financial institutions, Communists, Fascists and the Governor of the Bank of England.

During the Second World War, Hargrave invented an ‘automatic navigator’ for aircraft. The RAF tested it, decided it worked well but, as it required a gyroscope and all the gyroscopes were being used for bomb sights, they never took up the idea.

After the War, Hargrave decided he had the power of psychic healing and dissolved his organisation in 1951, making a living as an author, illustrator and cartoonist for Vanity Fair and the Daily Sketch.

In 1967, he discovered that the new Concorde supersonic airliner had a ‘moving map display’ which sounded remarkably like the ‘automatic navigator’ he had invented during the War; but he had allowed his patent to lapse. Despite this, eventually, in 1967, he forced the British government to hold a full Public Enquiry which, basically, decided that Hargrave’s idea had, indeed, been nicked but he would get no money for it as he had let the patent lapse.

In 1976, now in his eighties, Hargrave went to see Judge Smith’s rock musical The Kibbo Kift in the Traverse Theatre at the Edinburgh Fringe and enjoyed it thoroughly though, Judge Smith said last night, this may have been because he was “pretty deaf by then and this very loud rock music may have been the first  music he’d heard for years”.

Before he died in 1982, Hargrave set up the Foundation of the Kibbo Kift Foundation.

All the paper records are now held by the London School of Economics; the costumes, banners and other physical stuff is held at the Museum of London.

Unjustly forgotten. As Judge Smith said last night, “one of the most unusual things about this very unusual man is just how little-known he and his movement are today. There’s no biography; there’s been no TV documentary. But he is far more interesting, significant and downright entertaining than many personalities of the time who are still famous today.”

On my way home from the Sohemian Society meeting, a girl opposite me in the tube train was making up her eyes with her right hand, using her Apple iPhone 4S in her left hand. She had it switched on to the camera, using it as a video mirror.

Times change. Lateral and creative thinking continues.