Documenting Denmark Street

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Rob Telford
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I think I have fallen into this project almost by accident, so this first post is as much an assembling of my thoughts as an introduction, so apologies for the long read...

Also, emphatically, this is NOT a 365 or 52 project! :D

You may already be familiar with Denmark Street, known as London's Tin Pan Alley. For decades it has been something of a Mecca for musicians, with a large number of shops selling instruments, accessories, sheet music and repairs; with recording studios and gig venues thrown in.

I have been frequenting Denmark Street for over thirty years since I was a teenager, window shopping for guitars that I could not afford.

In better times since then I have bought guitars, basses and keyboards in Denmark Street. When money was tighter, I have gone there with a heavy heart to sell them.

Converted from a former blacksmith's in 1994, the 12 Bar Club at No. 26 provided me with a venue to perform at and to go see other people play on its intimate stage, where you could reach out and touch the feet of the audience up in the gallery.

Get a bunch of musicians together and they will all have different views and stories about Denmark Street. Some of the shops have, in the past at least, offered legendarily poor service and high prices. I think it's fair to say that the worst offenders are no longer trading. Other, new shops like Wunjos have taken their place and treat their customers with more respect.

There is a shadow over Denmark Street.

To its north, the St Giles Circus development is getting under way. It has already closed much of Denmark Place, the alley that runs round the back of Denmark Street, and threatens to rob some of the shops on the northern side of the street of the rear of their premises. St Giles Circus is likely to be completed around the same time as the new Crossrail station at Tottenham Court Road opens in 2018.

A huge shock occurred when 12 Bar closed and moved to Holloway Road in Islington at the beginning of 2015. As anticipated for several years, their lease had been terminated by the developers, Consolidated Developments. The club was the subject of a two week squat by protestors before they were turfed out by bailiffs.

There has been a lot of media coverage of the campaign to 'save Denmark Street', much of it suggesting it is in its death throes or dead already; that at best it will become a Disneyfied version of Tin Pan Alley for tourists, at worst taken over by McDonalds and Starbucks.

Counter to this, if you talk to those in whose name it is being run, those who work in and manage the shops, they find the campaign far too negative; that it's actually affecting their businesses adversely, putting people off shopping there. They're clearly tired of the questions you overhear people asking: when are they closing? when are the bulldozers moving in?

While they don't welcome the uncertainty that hangs over the street, many of them are fairly positive about the future. Clearly, whatever happens, the area will be faced by a period of change over the next few years.

My day job moved offices recently and I've been working nearby for a few months, so I'd begun casually to take a series of 'portraits' of the shops' exteriors last week when it occurred to me that this might develop into something a little more structured, taking in the interiors of the shops, the staff and their stories, to try to get a more rounded feel for life on Denmark Street that goes beyond campaign soundbites.

A quick sample of three of the shops that I know (and who know me) best confirmed that they're up for the idea. Photographers and especially TV crews regularly want access to film, but they come in, get their footage and disappear to meet their deadlines far too quickly.


Unresolved questions:

1. A proper mission statement

2. Presentation format - how the hell am I going to present what I'm doing?

Options:

  • a web site?
  • a book?
  • poster sized prints fly-posted overnight on the boarded up windows of the 12 Bar Club :naughty:

3. Lenses

I'd started out with a triplet of Contax/Yashica Zeiss primes on my A7 - a 28mm f/2.8 Distagon, a 50mm f/1.7 Planar and an 85mm f/2.8 Sonnar, which are wonderful.

It would be nice to aim do the whole shoot with just those, but I may have to resort to my faster Canon FDs if I'm shooting in lower light inside or crank up the ISO. Flash isn't often my thing.

Wait and see...

4. How much text?

To be determined. I think this may be something where the words are as important as the pictures.

5. Record interviews?

It would probably be good to get some verbatim quotes from the people I talk to. My iPhone will probably suffice as a recording medium.

6. Time Scale

This is going to have to be done as a 'half hour at lunch' and 'half hour before going home' exercise, but that's OK. The construction work hasn't started yet and isn't likely to be completed for three years or so, so I can afford a slow burn. The last personal photo project I got myself involved in was documenting the rise of The Shard skyscraper at London Bridge and involved my taking about 6000 pictures over three years.

Any thoughts on any of the above will gratefully received.

The next post will have some photos, I promise...
 
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I used to love the rickety staircases in Andy's which I think is Hank's now.

I remember when Hank's started, it was in an area at the back of a women's clothes shop. You walked past a load of dresses and there were the guitars!


Steve.
 
As you'd expect, there's already a great deal of interest in this as a subject for documentary....

http://www.antifolk.com/at-the-end-of-denmark-street-new-documentary-on-antifolk-uk-and-the-12-bar/

http://noisey.vice.com/en_uk/blog/a-riot-of-our-own-tali-clarke-12-bar-club-documentary

So a decent photo documentary would be something that would be something that could work well and become quite visible if done well. I'm not aware of anyone of note doing it... but it wouldn't surprise me if they are. Don't worry about that though.



Unresolved questions:

1. A proper mission statement

If you re-read what you wrote in your post, everything you need is all there.. you just hae to tease it out a little :)

Denmark Street, London WC2:

For decades Denmark Street has been a Mecca for musicians, with a large number of shops selling instruments, accessories, sheet music and repairs; with recording studios and gig venues thrown into the mix. Its rich history, peppered with names such as The Rolling Stones, David Bowie and the Sex Pistols is already legendary.

For the past 10 years, Denmark Street has been under threat from the encroaching gentrification and development of this part of the West End, but its historical importance as Tin Pan Alley and its heritage status has protected it. With only a few buildings listed for protection, many are scheduled for demolition and the Tin Pan Alley of historical fame is set to become history itself.

This work documents the places and people of Denmark Street as the eleventh hour seemingly draws to a close.


There ya go.


2. Presentation format
- how the hell am I going to present what I'm doing?

Options:

  • a web site?
  • a book?
  • poster sized prints fly-posted overnight on the boarded up windows of the 12 Bar Club :naughty:
Don't worry about this yet.... the work is not finished, although a book and exhibition seems sensible. Obviously web... that goes without saying. You could go an a guerilla art rampage as well, yes, but that could be a means of promoting an exhibition rather than an exhibit itself.


3. Lenses
I'd started out with a triplet of Contax/Yashica Zeiss primes on my A7 - a 28mm f/2.8 Distagon, a 50mm f/1.7 Planar and an 85mm f/2.8 Sonnar, which are wonderful.

It would be nice to aim do the whole shoot with just those, but I may have to resort to my faster Canon FDs if I'm shooting in lower light inside or crank up the ISO. Flash isn't often my thing.

Wait and see...

Seriously... stop worrying about gear.... use whatever you have to... no one's going to care what it was shot on... choose gear that gets the job done and stop discussing it or the gear nerds will just start showering you with all manner of crap that will be of zero use to actually getting the work done. You're not a beginner.... you know what gear you have, and you know what it's capable of... use whatever you have to. My advice though is because consistency is important, don't use a multitude of lenses... keep it limited or the results will be difficult to curate.


4. How much text?

As much as is necessary. You'll have a statement, so the audience has context. Beyond that, it depends how you want the work to develop. Are you taking oral testimony from any of the shopkeepers/musicians? If so, something from that could be used. Do you see this as purely a photo book, more of an ethnography, or a full on documentary book?

To be determined. I think this may be something where the words are as important as the pictures.

Very probably.


5. Record interviews?

It would probably be good to get some verbatim quotes from the people I talk to. My iPhone will probably suffice as a recording medium.

Definitely interviews, yes. This is history... capture the voice of those making it. iPhone will be ok, yes.... if you can get hold of a Zoom or Roland digital recorder though... they rock for stuff like this.

6. Time Scale

This is going to have to be done as a 'half hour at lunch' and 'half hour before going home' exercise, but that's OK. The construction work hasn't started yet and isn't likely to be completed for three years or so, so I can afford a slow burn. The last personal photo project I got myself involved in was documenting the rise of The Shard skyscraper at London Bridge and involved my taking about 6000 pictures over three years.

Why so limited? Can you not go outside of your working week? Can you not go weekends, or when you have leave from work? I don#'t think you CAN afford a slow burn. The actual construction may be some time away, but have you spoken to the shop owners etc? They may be forced out way sooner as leases expire ect. Get in there, and get it done. If you don't.... someone else will. Get speaking to the people. While there are people in your shots so far... no portraits, so you're probably not working WITH the people of Denmark street yet. Make those links NOW... if not, I promise you someone else will, and then if that happens, when you approach them, you'll probably get "Oh, I'm already working with so and so" and you'll kick yourself.

Get in there.... make the links... spend time with these people... you can't just drop in and document... build relationships and trust, and you'll capture more, both images, sound, and opportunities. As this takes time.... I think you need to expand upon this half hour at lunch and half hour going home thing. If you're serious about this, then spend whole days with them if possible. You've always got weekends surely?


The "portraits" of the shops are good, and obviously essential, but you need the people and portraits. You also need the details, interiors, but you need the CHARACTERS and history. Is anyone fly posting 12 Bar now? I bet there is... are there any movements active to campaign? You need to meet them, talk to them, and get their buy in. You can't passively observe this. You need to be involved... you need to be part of these closing chapters of history to record it. Not something you can just do in your lunch hour I don't think.
 
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Loving these Rob, great to see you've included life as part of the built environment, I agree with you that they help to tell the story. I shall be keeping an eye on this thread and look forward to the book.
 
I agree with David about the slow burn. Things can happen remarkably quickly even when not expected to when documenting change.

I'd also suggest shooting a lot more types of picture than you think you'll need. The final format/s for presentation will demand certain types of pictures. If you don't have them to select from the finished work might not be as strong as it could be. Take photographs you don't think you'll need, but which are interesting. Just taking pictures in portratit and landscape can help.

The alternative strategy is to decide on the final format and work with that in mind. At some point this format might come to you while you are involved in the project resulting in the project changing direction. Remain flexible.
 
Some thoughts..............

Get what is there
as it changes
and what it becomes
comparisons of before and after can be very interesting.
People are always important." especially when Money is the driver."

Particularly...... this applies to people living and working in the built landscape.

Is it or will it be a better place after the change? who will it benefit? who will it displace? who will replace them?
 
Thanks for the interest everyone

I'm reading the forum on phone ATM, which isn't the best tool for detailed responses, I'll pick up people's points in detail as I can later.

A couple of quick thoughts, though -

The more I consider it, the more I'm convinced the primary narrative should be from the point of view of people in the businesses in Denmark Street as their lives are the ones that will be most directly affected by any changes and possibly the most easily marginalised by events and the media. I have to respect their interests if I'm to engage properly.

Equally (nod to David) it would be good to include other players like the protesters, developers, architects, council planners and businesses that have already left the street. I'm interested in how their perspectives might shift our own perceptions.

I have been shooting a lot of other material outside on the street, just working on the editing (as in curation). Some of it may not fit well with the above.
 
As you'd expect, there's already a great deal of interest in this as a subject for documentary....

http://www.antifolk.com/at-the-end-of-denmark-street-new-documentary-on-antifolk-uk-and-the-12-bar/

http://noisey.vice.com/en_uk/blog/a-riot-of-our-own-tali-clarke-12-bar-club-documentary

So a decent photo documentary would be something that would be something that could work well and become quite visible if done well. I'm not aware of anyone of note doing it... but it wouldn't surprise me if they are. Don't worry about that though.

In my initial conversations with people on the street, it wasn't apparent. TV crews all the time, the occasional photographer, but nothing mentioned that sounded like a longer term project.

Like you say, I won't worry about it, though.

Don't worry about this yet.... the work is not finished, although a book and exhibition seems sensible. Obviously web... that goes without saying. You could go an a guerilla art rampage as well, yes, but that could be a means of promoting an exhibition rather than an exhibit itself.

I'm leaning toward setting up a blog-style web site to assemble the basic material over time. It would give me a space to test ideas out as I'm going along. Besides, if I'm to present the voices of people working in the street to it might be better to get them out into public discourse sooner rather than after all the dust has settled, literally.

I think Jim Mortram's excellent Small Town Inertia would provide me with a useful model. It's a powerful piece of work.

Other stuff like a book or exhibition could follow on later if and when I feel it's ready for it.

Seriously... stop worrying about gear.... use whatever you have to... no one's going to care what it was shot on... choose gear that gets the job done and stop discussing it or the gear nerds will just start showering you with all manner of crap that will be of zero use to actually getting the work done. You're not a beginner.... you know what gear you have, and you know what it's capable of... use whatever you have to. My advice though is because consistency is important, don't use a multitude of lenses... keep it limited or the results will be difficult to curate.

You're absolutely right. I think I'm going to restrict myself to a few primes: Zeiss for good light and my faster FDs where necessary.

As much as is necessary. You'll have a statement, so the audience has context. Beyond that, it depends how you want the work to develop. Are you taking oral testimony from any of the shopkeepers/musicians? If so, something from that could be used. Do you see this as purely a photo book, more of an ethnography, or a full on documentary book?

Oral testimony, yes. Part of the concept is to listen to other people's voices and use that to guide me in how it develops.

Taking it down and using it well will have to be a skill for me to acquire, though...

Why so limited? Can you not go outside of your working week? Can you not go weekends, or when you have leave from work? I don#'t think you CAN afford a slow burn. The actual construction may be some time away, but have you spoken to the shop owners etc? They may be forced out way sooner as leases expire ect. Get in there, and get it done. If you don't.... someone else will. Get speaking to the people. While there are people in your shots so far... no portraits, so you're probably not working WITH the people of Denmark street yet. Make those links NOW... if not, I promise you someone else will, and then if that happens, when you approach them, you'll probably get "Oh, I'm already working with so and so" and you'll kick yourself.

Get in there.... make the links... spend time with these people... you can't just drop in and document... build relationships and trust, and you'll capture more, both images, sound, and opportunities. As this takes time.... I think you need to expand upon this half hour at lunch and half hour going home thing. If you're serious about this, then spend whole days with them if possible. You've always got weekends surely?

I can't really defend myself that well here. I will plead a very busy day job, a band to rehearse and gig and a family at home that all take their toll on my time. On the plus side, Denmark Street is less than five minutes' walk from my office.

Definitely there will be occasions when I can't fit things into a half hour. I think it will be a question of my finding ways to make the time.

The "portraits" of the shops are good, and obviously essential, but you need the people and portraits. You also need the details, interiors, but you need the CHARACTERS and history. Is anyone fly posting 12 Bar now? I bet there is... are there any movements active to campaign? You need to meet them, talk to them, and get their buy in. You can't passively observe this. You need to be involved... you need to be part of these closing chapters of history to record it. Not something you can just do in your lunch hour I don't think.

The shop 'portraits' are a relatively neutral way in to the thing. When I've talked to them and shown them some of the pictures I've taken already, the shop keepers are nervous of negative imagery (a photo of a parking suspended notice got a comment), while the shop portraits were something they could relate to.

The landowners have been pretty sharp about cleaning up any graffiti or posters that may have appeared on the building.

I think this lasted a couple of days

B_5aIXxWgAEwGpI.jpg




BTW, I must say thanks for the detailed response, David. It is most useful.
 
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Relentless
by Rob Telford, on Flickr

5 Denmark Street, London WC2.

Formerly the 'Rockers' guitar and bass shop, early in 2014 it became a 'pop-up concept store' in a joint venture between Relentless drinks and Red Dog Music of Glasgow.




Smoking Goat
by Rob Telford, on Flickr

In the 1960s, No. 7 was the home of the Tin Pan Alley Club, a private members bar, which had a bit of a reputation for attracting gangsters with its late licence. Today, it is the Smoking Goat Thai barbecue.




Flat Iron
by Rob Telford, on Flickr

La Giaconda, 9 Denmark Street, London WC2.

The La Gioconda coffee bar at number 9 (the original was spelled with an 'o') has a place in rock and roll history - it was here that David Bowie (then Jones) met the members of his first backing band, The Lower Third.

One other story goes that when another Jones, Tom, was recording 'It's Not Unusual' the keyboard player didn't turn up for the session. Jones' drummer 'ran across the street' to La Gioconda and hired a young Reg Dwight to play. I'm a little skeptical about this, since Decca's studios are several miles away in West Hampstead.
 
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Productive meeting this afternoon with Brian Rowe, who owns the three Wunjos shops on the north side of the street. He's on board. :cool:
 
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After much deliberation I've settled on 'Street of Sound' as the working title. It's reasonably direct, unpretentious and won't require me to use the NATO alphabet to spell it out on the phone :)

.uk domain and Twitter account registered.

Finding my way round Wordpress for the first time is proving interesting.
 
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Looking forward to following this as it progresses.

I'd be wary of mixing colour and B+W unless the two are used for different purposes. e.g. all people portraits in B+W, all shop portraits in colour. Just the way I'd approach that side of things.
 
I agree with David about the slow burn. Things can happen remarkably quickly even when not expected to when documenting change.

I've done a fair bit of coverage of large construction projects and wider scale urban regeneration in London over the last decade. It tends to be a mixture of barely perceptible progress and occasional frantic bouts of activity (such as big continuous concrete pours). Effective networking certainly helps you get advance information when the latter will occur and plan for it. On the first evidence I have available, the developers seem to have been pretty good at communicating the programme to the people I've spoken to. I want to leverage that channel to get to talk to them directly.

I'd also suggest shooting a lot more types of picture than you think you'll need. The final format/s for presentation will demand certain types of pictures. If you don't have them to select from the finished work might not be as strong as it could be. Take photographs you don't think you'll need, but which are interesting. Just taking pictures in portratit and landscape can help.

The alternative strategy is to decide on the final format and work with that in mind. At some point this format might come to you while you are involved in the project resulting in the project changing direction. Remain flexible.

I think the first option is going to have be my route. I've not enough experience shooting in advance for particular formats to be able to plan it well (though I've done enough work for magazines to be aware that having a few shots on hand with a lot of negative space could come in handy for text layout on a full page image, for example).
 
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I'd be wary of mixing colour and B+W unless the two are used for different purposes. e.g. all people portraits in B+W, all shop portraits in colour. Just the way I'd approach that side of things.

Indeed. That's why I placed a caveat against the two mono shots I posted above.

I'm naturally drawn to monochrome (it can deliver a graphic quality for pictures like the above that doesn't happen in colour and I've developed what I think is a pretty good sensibility for mono conversions) but i think this project broadly demands colour. The shops and their contents don't make as much sense without colour; it is obvious that the shops consciously use colour to distinguish themselves from each other within the street.

Besides, using black and White risks inadvertently suggesting an appearance of nostalgia and I don't want to go down that path.

I'll keep the idea of reserving them for different purposes in mind, though. Ta.
 
So, a little more networking today and another business looks to be on board. :cool:

A bit of detail with a longer lens this morning

20150629_0006-683x1024.jpg



And another shop portrait done, with a couple of staff hanging out outside

20150629_0063-1024x732.jpg




Found this guy just doodling on the street, for his own entertainment apparently

20150629_0049-683x1024.jpg



And, rather more to the point, popped in to Wunjo Guitars for a recce of the light

Brian, the owner, checking prices

20150629_0037-1024x683.jpg


Rob demonstrating a guitar

20150629_0039-1024x683.jpg


A customer trying one out himself

20150629_0048-1024x683.jpg



And I took the opportunity to enjoy the patterns of the guitar straps on sale

20150629_0044-1024x683.jpg


20150629_0043-1024x683.jpg
 
Looking forward to following this as it progresses.

I'd be wary of mixing colour and B+W unless the two are used for different purposes. e.g. all people portraits in B+W, all shop portraits in colour. Just the way I'd approach that side of things.


^this. It just doesn't work unless you are definitely truing to segregate images from one another for some reason.

More formal portraits dude! :)
 
^this. It just doesn't work unless you are definitely truing to segregate images from one another for some reason.

More formal portraits dude! :)

All things in good time :)

I'm doing my first interview tomorrow with Graham Noden of Noden Guitars - a repair workshop in the basement of Hank's.
 
Good to see this in its early stages Rob, it will be interesting to see it evolve and take shape through your continued work.
 
Currently transcribing 40 minutes of chat about life, guitars, architecture and Denmark Street from Graham.

This is a lot of work. :)

Edit: I had brought my 17mm and 20mm primes with me and took a few snaps in the workshop while he was on the phone before we went out for a coffee.

The plan is to return in a few days once I've absorbed our conversation and get some proper photos done.

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20150701_0007-1024x683.jpg
 
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Arrived at a statement that I think I'm comfortable with.

In January 2015, the departure of the 12 Bar Club from Denmark Street sparked off a very public campaign to 'Save Denmark Street'. A widely accepted narrative is that musical life of Denmark Street is in danger of being gentrified, Disneyfied and Starbucksed out of existence.

However, those who might be seen as central to the campaign, the shop keepers of the street, appear to view it as a distraction at best; unwelcome and negative at worst.

There is a clear discord between the perceptions of a wider public and of those closest to the ground.

As a musician who has bought and sold instruments, and attended and played gigs on Denmark Street for thirty years, I was intrigued enough by the dissonance to want to investigate it further.

As a photographer with a particular interest in the process of change in urban environments, Denmark Street provides a small scale example of many similar debates that are going on across early 21st century London.

The purpose of this site, therefore, is to explore the past, present and future of Denmark Street through a combination of photographs and words, documenting the stories and lives of the people that make the place what it is.

Rob Telford

June 2015
 
I used to repair telephones in that area in the late 70's, seem to recall one of the shops was owned by Rod Argent.

Also remember when the IRA put a small bomb behind one of the green telecom cabinets in St Giles High St, blew it to bits and caused no end of phone chaos

Good luck with your project Rob, very interesting part of London
 
I used to repair telephones in that area in the late 70's, seem to recall one of the shops was owned by Rod Argent.

It's been through a couple of changes of ownership since, but the store is still there with his name on, selling sheet music, books and DVDs.
 
Arrived at a statement that I think I'm comfortable with.

Can I suggest a few changes?...and query some wording.


"In January 2015, the departure of the 12 Bar Club from Denmark Street instigated a very public campaign to 'Save Denmark Street'. A widely accepted narrative is that musical life of Denmark Street is in danger of being gentrified out of existence.

However, those who might be seen as central to the campaign, the shop keepers of the street, appear to view it as a distraction at best; unwelcome and negative at worst.
[What do they see as a distraction - the gentrification/development, or the campaigns to save it? The way you've worded this makes it unclear]

There is a clear discord between the perceptions of a wider public and of those closest to the ground.

As a musician who has bought and sold instruments, and attended and played gigs on Denmark Street for thirty years, I was intrigued enough by the dissonance to want to investigate it further.

As a photographer with a particular interest in the process of change in urban environments, Denmark Street provides a small scale example of many similar debates that are going on across early 21st century London.

This work explores the past, present and future of Denmark Street through a combination of photographs and words, documenting the stories and lives of the people that make the place what it is."
 
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Can I suggest a few changes?...and query some wording.

Thanks for the notes

"In January 2015, the departure of the 12 Bar Club from Denmark Street instigated a very public campaign to 'Save Denmark Street'. A widely accepted narrative is that musical life of Denmark Street is in danger of being gentrified out of existence.

However, those who might be seen as central to the campaign, the shop keepers of the street, appear to view it as a distraction at best; unwelcome and negative at worst.
[What do they see as a distraction - the gentrification/development, or the campaigns to save it? The way you've worded this makes it unclear]

A revised wording should eliminate any ambiguity:

However, the shop keepers of the street, who are at the centre of events, appear to view the the campaign as a distraction at best; unwelcome and negative at worst.

I'll take your edit of the last paragraph as is. Ta.
 
Also remember when the IRA put a small bomb behind one of the green telecom cabinets in St Giles High St, blew it to bits and caused no end of phone chaos

When I was talking to Graham Noden, he mentioned that the building that was formerly on the site of Renzo Piano's Central St. Giles was reputed to be used by MI5 (like quite a few I knew dotted round the West End before they all moved to Vauxhall).

Might have something to do with the IRA setting a bomb off nearby... I believe they liked to try to spook the spooks. :)
 
Makes sense if there were MI5 premises about, checked the phones in one their safe houses near the Old Bailey around that time too

Cabinet was on the junction with Denmark St just past the church and grotty pub whose name escapes me
 
Makes sense if there were MI5 premises about, checked the phones in one their safe houses near the Old Bailey around that time too

Cabinet was on the junction with Denmark St just past the church and grotty pub whose name escapes me

Latterly the rock-pub The Intrepid Fox (after they lost their old premises in Soho in 2006) and before that the Conservatory.

I'm a bit vague before then - I'm still mourning the loss of the Blue Posts on Tottenham Court Road which was a shady-looking log cabin and is now a Sainsbury's. The Guinness was OK.
 
Really looking forward to seeing this develop.

I was in the National Museum Cardiff earlier today to see the Chalkie Davies exhibition of the 70's & 80's music industry photographs he took for the NME - which sort of reminded me of some of the comments in this thread - He was someone that got something extra out of his subjects by getting to really know them - as has been mentioned here too.

See - http://www.museumwales.ac.uk/cardiff/whatson/7844/Chalkie-Davies-the-NME-years/

If you are quick, this BBC documentary is also on iPlayer for another 2 days or so too.

http://www.bbc.co.uk/iplayer/episode/b05xd4yv/chalkie-davies-rock-photographer
 
If the first blog is indicative of what else is to come, then this is going to be an excellent project. The quality of writing more than complements the images.

Well done. Looking forwards to more!
 
Another blog added to my blog feed. :)
 
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