Benny Hill in his sixties heyday.

“The notion that Benny was a lonely man is so depressing and wrong. He just liked his own company. He was very happy walking alone, living alone, eating alone, taking holidays alone and going to see shows alone. I often wonder whether he needed anybody else in his life at all…except perhaps a cameraman”. – Bob Monkhouse

On Easter Sunday morning in 1992, and just two hours after he had been speaking to a television producer about yet another come-back, 75 year-old Frankie Howerd collapsed and died of heart failure.

Benny Hill, seven years younger than Howerd, was reported in the press as being “very upset” and saying, “We were great, great friends”. Indeed they had been friends, but Hill hadn’t given a quote about his fellow comedian, he hadn’t even been asked for one – he couldn’t have been – because he was already dead.

The quote about Howerd had come from Hill’s friend, former producer and unofficial press-agent Dennis Kirkland who had not been able to get in contact with Hill for a couple of days and was starting to worry.

It wasn’t until the 20th, the day after Howerd had died, that a neighbour noticed an unpleasant odour coming from Flat 7 of Fairwater House on the Twickenham Road in Teddington.

Benny Hill at home in 1991. Exactly where he was found a year later slumped on the sofa watching TV

Fairwater House on the Twickenham Road in Teddington

The neighbour contacted Kirkland, who was a regular visitor to the Teddington apartment block, and it wasn’t long before the television producer was climbing a ladder and peering through the window of Hill’s second floor flat. Inside he saw his friend surrounded by dirty plates, glasses, video-tapes and piles of papers slumped on the sofa in front of the TV. He was blue, the body had bloated and distended, and blood had seeped from the ears. It was later established that Hill had probably been dead for two days.

Frankie Howerd and Benny Hill had both been part of a big wave of ex-servicemen comedians that came to prominence after the second world war. This amazing generation of performers, in some form or other, would eventually almost take over light-entertainment, initially on the radio and subsequently television, in the fifties, sixties and seventies.

Benny Hill,  although he was still known by his original name Alfie Hill, had first come to London during the war. He arrived at Waterloo station on the Southampton train in the summer of 1941 just after the blitz had come to an end and he had given up his milk-round and sold his drum kit for £8 to fund this next stage of his life. He had no other plan in his head but to succeed as a comic performer on the London stage and had three addresses of variety theatres in his pocket. He was just seventeen.

Young Benny Hill

More by luck than judgement and after a week or two of sleeping rough in a Streatham bomb shelter, the naive Hampshire boy managed to get a dogsbody job from a kindly agent. Hill remembered this in 1955:

At the Chiswick Empire they did not want to know about Alf Hill. I had much the same reception at the “Met”, but at the Chelsea Palace I was lucky enough to arrange to see Harry Benet at his office the next morning.

Harry Benet offered Hill £3 per week to be an Assistant Stage Manager (with small parts) for a new revue called Follow the Fan. Years later Hill would often joke that although he was no longer an ASM he still had small parts!

12 months or so later Hill, now eighteen, had become eligible for conscription. He was having the time of his life, however, and he naively thought that by travelling around the country (he was now with Send Them Victorious, another revue) he could pretend he had never received the OHMS manila envelope ordering him to enlist.

The ruse worked until November 1942 when the revue was at the New Theatre in Cardiff for the last engagement before the pantomime season. Two military policeman had come to find him at the theatre and Hill was forced to ‘give himself up’ and put in jail for two days. Within a month Hill found himself a private in the Royal Electrical and Mechanical Engineers as a driver/mechanic.

He couldn’t drive and knew nothing about engines and Alfie Hill played no useful part in the war. After VE day and when he was in London on leave he applied to be part of the services’ touring revue called Stars in Battledress.

Benny Hill in the army

There was one problem, Hill didn’t have ‘an act’ and he had 24 hours to create one. For inspiration he walked to the Windmill Theatre in Soho as it was the only place in London where you could see comedians during the day.

He noticed one Windmill comic in particular, a man called Peter Waring whose scripts were written by Frank Muir, at that time still attached to the RAF. Hill would later say:

Waring was the biggest influence on my life. He was delicate, highly strung and sensitive…when I saw him I thought, ‘My God, it’s so easy. You don’t have to come on shouting, “Ere, ‘ere, missus! Got the music ‘Arry? Now missus, don’t get your knickers in a twist!” You can come on like Waring and say, “Not many in tonight. There’s enough room at the back to play rugby. My God, they are playing rugby.

The Windmill Theatre on Great Windmill Street in 1940

Archer Street, which is on one side of the Windmill Theatre, in the late-forties. Musicians and performers looking for work would meet up with small-time agents here.

Windmill Theatre

The Windmill Theatre on the corner of Great Windmill street and Archer Street, just off Shaftesbury Avenue, was a magnet to many of the new wave ex-servicemen comedians, of which there were many. The theatre was infamous for its risque dancing girls and nude tableaux andthere weren’t too many patrons who were there for the jokes.

The theatre had been bought in 1930 by a 70 year old ‘white haired, bright eyed little woman in mink’ called Mrs Laura Henderson whose late husband “had been something in Jute”. At the time it was a run-down old cinema called the Palais de Luxe (actually one of the first in London) but she had the building extensively rebuilt, glamourously faced with glazed white terracotta and renamed it the Windmill Theatre.

Under the careful guidance of her manager Vivian Van Damme, a small neat man who more often than not would be smoking a cigar, the theatre slowly became a success. The ‘Mill’, as it became known in its heyday, started to present a non-stop type of revue that was a winning combination of brand-new comedians, a small resident ballet, a singer or two and, of course the infamous static nude tableaux. The terrible title of the show assimilated the word ‘nude’ and ‘revue’ and was called Revudeville.

Revudeville cover

Vivian Van Damm

The elderly Vivian Van Damm showing Benny Hill how its done.

Van Damme, amusingly known as V.D. to everyone backstage, had an astute judgement of both English sexual taste and of what the Lord Chamberlain – the national theatre censor – would allow. “It’s all right to be nude, but if it moves, it’s rude,” said Rowland Thomas Baring, 2nd Earl of Cromer who was the Lord Chamberlain at the time.

On the Sunday night before a new show opened Van Damme would invite the Earl of Cromer to a special performance. To make the Lord Chamberlain’s mood amenable to what he was about to see V.D. made sure there was generous hospitality before the curtain was raised. It was said that the Lord Chamberlain never delegated his responsibilities on these occasions.

During the war the Windmill Theatre became one of the first theatres to re-open after the Government initially ordered compulsory closure of all the theatres in the West End (4-16 September 1939). It stayed open throughout the rest of the war with five or six performances a day and open from 11am to 10.35 at night.

Windmill Girls

Windmill Girls

Windmill Girls

Once the audience arrived in the morning some of them would stay and watch all the six shows throughout the evening and night. Des O’Connor, just one of the comedians who got an early break at the Windmill, was on his fifth show of the day when he completely dried up. Somebody, who had been at all the previous shows that day, shouted out: “You do the one about the parrot next!”

During the latter performances the audience that were sitting in the back of the stalls would wait for those in the front rows to get up and leave. When they did the men at the back would quickly leap over the seats to get to the front. This was known as the ‘Windmill Steeplechase’.

During the worst of the Blitz it was sometimes too dangerous to expect people to get home and the stagehands and performers often sheltered in the lower two floors underground. Around 1943 the theatre created its famous motto – “We never closed” – although to a lot of people this quickly became “we never Clothed”.

Life magazine featured the Windmill Theatre and its girls during the war.

Windmill Girls sleeping in the basement of the theatre during the Blitz

Windmill girls in the dressing room

In fact the ‘Mill’ became internationally famous for staying open for business despite the constant threat of the German bombers. Extraordinarily, this reputation of defiance, together with Van Damme’s tasteful’ girl-next-door version of English femininity, made the Windmill theatre a major symbol for London’s ‘Blitz Spirit’ all around the world.

This indestructible gesture of defiance was summed up at the theatre when one naked young woman broke the ‘no moving’ rule by brazenly raising her hand to thumb her nose at a V1 bomb that had exploded nearby. She earned herself a standing ovation.

Piccadilly Circus, about a hundred yards from the Windmill, in the black-out during the Blitz

Benny Hill, who by now had changed his name (Jack Benny was one of his favourite comedians), had two auditions at the Windmill. On both occasions, and after barely finishing his first gag, Hill got a dreaded ‘Thank you, next please’ from Van Damm somewhere in the darkness of the stalls.

He wasn’t the only comedian who would later go on to become a huge star but be rejected by the Windmill theatre. Both Bob Monkhouse and Norman Wisdom also failed to get past the one-man Van Damm judging panel.

The list of comics that did perform at the Windmill, however, is extraordinary, and included Jimmy Edwards, Tony Hancock, Arthur English, Harry Secombe, Peter Sellers, Michael Bentine, Bruce Forsyth, Dave Allen, Alfred Marks, Max Bygrave, Tommy Cooper and Barry Cryer.

There was a comedy revolution taking place. Performers, who in a sense had wasted years of their young adulthood to the war, were desperate to make up for lost time and they had a connection with each other like no generation since.

For Hill, after failing his second audition at the Windmill, it was back to the working men’s clubs in places like Dagenham, Streatham, Tottenham, Harlesden and Stoke Newington. In those days the Soho agents never actually mentioned money and used to show the amount that was to be paid by laying fingers on the lapels of their jackets. One finger, one pound, two fingers meant two pounds – but it was nearly always the former for Benny in those days.

However his act was getting more and more polished and in 1948, in some rehearsal rooms across the road from the Windmill Theatre on Great Windmill Street, he had an audition as Reg Varney’s straight-man in a revue called Gaytime.

There were two people auditioning for the part but after Hill had performed an English calypso (this would have been pretty rare just after the war) which he sang to his own guitar accompaniment:

‘We have two Bev’ns in our Caninet/Aneurin’s the one with the gift of the gab in it/The other Bev’n's the taciturnist/He knows the importance of being Ernest!’

After his act, Hill was told by Hedley Claxton, an impresario who specialised in seaside shows, that he had got the job. The other contender for the role that afternoon in 1948 was a young impressionist from Camden called Peter Sellers. In 1955, Hill astutely told Picturegoer: “Watch Peter Sellers. He’s going to be the biggest funny man in Britain.”

Hill and Reg Varney’s double act was a success and they were signed up for three seasons of Gaytime and subsequently a touring version of a London Palladium revue called Sky High.

Gaytime with Reg Varney and Benny Hill. Twenty years later Varney would be the first person to use the first ever cashpoint machine in Enfield.

Around this time Hill appeared on BBC radio a few times but struggled to make his mark. A damning BBC report on Benny Hill, dated 10 October 1947 says:

Ronald Waldman: The only trouble with him was that he didn’t make me laugh at all – and for a comedian that’s not very good. It’s a mixture of lack of comedy personality and lack of comedy material.

Harry Pepper: I find him without personality and very dully unfunny.

In the early fifties, unlike many performers and agents who either feared it or thought it would be a flash-in-the-pan, Benny realised that television would be massive. He knew, however, that it gobbled up material and could end the career of Variety artists who had successfully performed the same material all their lives. So Hill started to write hundreds and hundreds of sketches and eventually submitted them in person to the same Ronald Waldman who had said just three years before written ‘he didn’t make me laugh at all’.

This time Waldman, now BBC’s head of light entertainment, was actually very impressed and offered Benny Hill his own show right there and then.

‘Hi There’ went out on the 20^th August 1951 at 8.15pm. The 45 minute one-off show featured a series of sketches wholly written by Benny Hill and was relatively well-received. It wouldn’t be until four years later that Hill had his own series and in January 1955 the first ever ‘The Benny Hill Show’ was broadcast on the BBC. Hill was always an uncomfortable performer on stage and the new medium of television utterly suited his “conspiratorial glances and anticipatory smirks” to camera and after a shaky first episode the rest of the series was a huge success.

Benny enjoying his new found success. He had paid his dues though.

Benny with his dancing girls on the first ever Benny Hill Show on the BBC

Plus ça change...still surrounded by his dancing girls over thirty years later.

Benny Hill never looked back and was a mainstay of British television for the next thirty five years. Initially his shows appeared on the BBC and then subsequently on Thames Television from 1969 when the new London weekday franchise needed some high-profile signings.

The ‘cherub sent by the devil’, as Michael Caine once described Hill, eventually became a huge star all over the world. It seemed at one point, just as many in the UK were starting to find his comedy rather old-fashioned and sexist, that the rest of the world thought Benny Hill was British comedy.

Twenty years after Hill made his first series for Thames Television their new Head of Light Entertainment John Howard Davies invited him into the offices for a chat. Benny assumed that they were meeting to discuss details of a new series – he’d just gone down a storm in Cannes.

Davies thanked him for all his series he had made for Thames and then promptly sacked him. Hill never really recovered from the shock and considering what he had done for the company over the last two decades he was treated badly. It was only three years later that he was found dead in his apartment a stone’s throw from the Thames Television studios in Teddington.

Benny and yet more women. Again.

There is no doubt that Benny Hill had a strange relationship with women. He was very confused about the accusations of sexism in the latter part of his career. He felt that his comedy hadn’t really changed and he’d been doing almost the same thing for decades. This was true, he literally had been telling the same jokes for decades always happy to recycle his own material, but society around him had moved on and an elderly man surrounded or chased by very scantily-clad women made for uncomfortable viewing.

It appears that hill never really had a proper relationship during his lifetime. The closest he got to marriage was with a dancer from the Windmill Theatre called Doris Deal around the mid-fifties. He took her for meals in London, they held hands, and it was assumed they were seeing each other, but when Hill had procrastinated a little too long and told her he wasn’t ready for marriage she promptly left him.

There were other close albeit non-romantic relationships with women through the years including a young Australian actress called Annette André whowould eventually star in Randall and Hopkirk (Deceased). He may have even proposed to her but if he did she said she pretended not to notice.

It seems that Benny Hill, famous throughout the world by surrounding himself with young women, either was scared of intimate sexual intercourse or, as some un-named sources have implied, that he was impotent. It was probably a combination of the two.

Benny Hill out with friends in 1955, his girlfriend Doris Deal is front left

Benny Hill and Bob Monkhouse. Two people who failed their Windmill Theatre audition.

He wanted his women to be more naive than he was, women who would look up to him. He also said it was fellatio he wanted, or masturbation. “But Bob, I get a thrill when they’re kneeling there, between my knees and they’re looking up at me. And I want them to call me Mr Hill, not Benny. ‘Is that all right for you , Mr Hill?’ That’s lovely, that is, I really like that,” I asked him why and he said, “well, it’s respectful.”

Benny Hill and an uncomfortable-looking Jane Leeves (of Frasier fame) once a Hill's Angel.

www.youtube.com/watch?v=rLBVTRooZHc

Clips from BBC Benny Hill shows from the sixties.

www.youtube.com/watch?v=Zkv9dbLW4WM

An interview with Benny Hill from early in his career.

Benny Hill Entertains

Hmm.

Windmill Theatre today. Is it not possible to get rid of the black cladding?

The Whitehall theatre is now a lap-dancing club. The sign outside says ‘Probably the most exciting men’s club in the world…’ I haven’t been there, but I’m sure it’s safe to say, it almost certainly isn’t.

When I was a lad and crazy to get into showbiz I used to dream of being a comic in a touring revue. They were extraordinary, wonderful shows. There were jugglers and acrobats and singers and comics, and most important of all were the girl dancers. My shows are probably the nearest thing there is on TV to those old revues. – Benny Hill, 1991

Benny Hill – Lonely Boy

Benny Hill – Bamba 3688

Benny Hill – What a World

Buy Benny Hill’s Ultimate Collection here (only £2.49!)

Donald Duart Maclean and Guy Francis de Moncy Burgess

Guy Burgess woke at around 9.30 on the morning of Friday, 25 May 1951 in his untidy musty-smelling bedroom. Next to his bed was an overflowing ashtray and lying on the floor was a half-read Jane Austen novel. He had got in the habit of rising relatively late since his return from America three weeks previously where he had been second secretary at the British embassy in Washington. 

Burgess had left in disgrace, and at the British Ambassador’s behest, after several embarrassing incidents which included being caught speeding at 80 mph three times in just one hour, strangely pouring a plate of prawns into his jacket pocket and leaving them there for a week and, perhaps more importantly as far as his job was concerned, being rather too casual with confidential papers. He was drunk nearly continuously and thoroughly disliked by most of the people with whom he came in contact.

Now back in London Burgess was living in a small three-roomed flat in Mayfair situated at Clifford Chambers, 10 New Bond Street and opposite Asprey the famous jewellers. It was (and is of course) a salubrious part of London, if not the salubrious part of London.

In 1951, if for some reason you had been looking for an area in the world that was visually and politically diametrically opposed to anywhere in the Soviet Union, Bond Street would have been pretty high up on your list. Burgess, the infamous Eton and Cambridge-educated Soviet spy, coped with the irony surprisingly easily until this Friday morning in May when his world suddenly turned upside down.

Clifford Chambers, 10 New Bond Street in Mayfair today.

Jack 'Jacky' Hewit

Burgess had been brought a cup of tea that morning by his flatmate, and erstwhile lover, Jack Hewit known to his friends as ‘Jacky’. He had once been a ballet and chorus dancer but now was a slightly over-weight office clerk but Hewit was a close and faithful friend to Burgess and they had been sharing various flats in and around Mayfair for fourteen years. Hewit later wrote of that morning:

“Guy lay back, reading a book and smoking, and he seemed normal and unworried. When I left the flat to go to my office, Guy said ‘See you later, Mop’ – that was his pet name for me. We intended to have a drink together that evening.”

Burgess and Hewit's flat on New Bond Street.

Not the most salubrious flat in Mayfair.

Burgess's books he eventually left behind he took with him a volume of Jane Austen's collected novels.

At 9.30 on that same morning Donald Duart Maclean would have already caught his usual train from Sevenoaks some two hours previously and would have been sitting at his desk in Whitehall. He was head of the American department at the Foreign Office in King Charles Street.

The job sounds important but care was already being made that it was of no operational importance as, for some time, Maclean had been under suspicion, along with four others, for leaking atomic secrets to the Soviet Union. In the last few days, however, the four suspects had now become just one.

Donald Maclean in 1935 aged 22

Two years younger than Burgess, Maclean was exactly 38 years old for it was his birthday and he had asked if he could take the next morning as leave (Saturday mornings were still worked by many civil-servants after the war) so he could celebrate with family friends at home in Surrey.

Maclean was the son of one of the most illustrious Liberal families in the country. His father, Sir Donald Maclean, had first entered Parliament as the Liberal member for Bath in 1906 and was President of the Board of Education in the cabinet when he died in 1932.

At around 10-10.30 am a senior MI5 officer and the head of Foreign Office security were received by Mr Herbert Morrison, who had recently become Foreign Secretary, in his large office in Whitehall. After reading a few papers Morrison signed one of them and this gave MI5 permission to bring Donald Maclean in for questioning.

Herbert Morrison in 1951, his daughter gave birth to Peter Mandelson two years later

A few days previously Maclean and Burgess had met for lunch, ostensibly about a memorandum that Burgess had prepared while in America about American policy in the Far East and the threat of McCarthyism. They met at the Reform club but according to Burgess the dining room was full and they walked to the Royal Automobile Club along Pall Mall. On the way Maclean said: “I’m in frightful trouble. I’m being followed by the dicks.”

He pointed to two men by the corner of the Carlton Club and said, “Those are the people who are following me.” Burgess described the two men “there they were, jingling their coins in a policeman-like manner and looking embarrassed at having to follow a member of the upper classes.”

London Reform Club, 104 Pall Mall in the fifties

Dining room at the Royal Automobile Club

At around the same time as the Herbert Morrison meeting in Whitehall, Burgess urgently left his flat in New Bond Street. He had just received a telephone call from Western Union relaying a telegraph from Kim Philby in Washington, seemingly about a car he had left in Washington, but in reality a coded message that Maclean would be interrogated after the weekend.

Burgess first went to the Green Park Hotel on Half Moon Street (a former town house in a terrace built in 1730 – the hotel is still there and now known as the Hilton Green Park Hotel) just off Piccadilly and about ten minutes walk away. Here he met a young American student called Bernard Miller whom he had befriended on his journey back from the US on the Queen Mary. Burgess later described as  – “an intelligent progressive sort of chap” .

They had a coffee in the hotel’s comfortably luxurious lounge before going for a walk in nearby Green Park. They had planned a few days away in France and Burgess had already booked two tickets for a boat that sailed at midnight to France later that night. After a few minutes Burgess stopped and said to his surprised American friend who had been animatedly chatting away about their trip:

“Sorry Bernard,” he said, “I haven’t been listening, really. You see, a young friend at the Foreign Office is in serious trouble, and I have to help him out of it, somehow.”

Burgess assured the shocked Miller that he would do everything he could so that they could make their midnight crossing but he would not be able to say anything definite until later on in the day.

By now it was just before midday and the American went back to his hotel and Burgess went to the Reform Club for a large whisky and a think about what was lying a head. After half an hour he asked the Porter to call Welbeck 3991 and he spoke to Welbeck Motors and hired a car for ten days.

While Burgess was slumped in a large corner armchair at his club Maclean left his office and walked up Whitehall and across Trafalgar Square to meet a couple of friends, a married couple, for lunch in Old Compton Street. They walked through a door which was part of a green facade with the heading ‘Oysters/WHEELER’s & Co./Merchants’ written along the top.

Cyril Connolly and Caroline Blackwood (soon to become Mrs Lucian Freud) outside Wheelers in 1951. Connolly, the writer and critic, was a friend of Burgess. Two days after Burgess returned to London he described Washington to Connolly: "Absolutely frightful because of Senator McCarthy. Terrible atmosphere. All these purges."

In the early fifties Wheeler’s restaurant was a Soho institution. The owner was Bernard Walsh who started Wheeler’s in Soho in 1929 as a small retail oyster shop. After seeing how popular his oysters were in London’s top restaurants he bought a few tables and chairs and started serving them himself. By 1951, when Maclean and his friends visited for lunch, the restaurant featured a long counter on the left-hand side, where a waiter or Walsh himself opened oysters at frightening speed.

There was a large menu which had thirty-two ways of serving sole and lobster but no vegetables save a few boiled potatoes. During post-war austerity when English food was at its dreariest and some of it still rationed, Wheeler’s seemed a luxury.

Francis Bacon with friends, including Lucian Freud and Frank Auerbach at Wheeler's in 1951/2

When Donald Maclean came out of Wheeler's and turned left this would have been his view in 1951

The restaurant was very crowded on that Friday lunchtime and after sharing a dozen oysters and some chablis Maclean and his friends decided to eat the rest of their lunch elsewhere. Maclean seemed unconcerned and almost nonchalant as he and his friends walked up Greek Street and through Soho Square to Charlotte Street where they had two further courses at a German restaurant called Schmidt’s situated at numbers 35-37.

This area of London was still known to most people at the time as North Soho. The name Fitzrovia was coined relatively recently and named after the Fitzroy Tavern. Coincidentally ‘Fitzrovia’ was recorded in print for the first time by Tom Driberg, the independent and later Labour MP – a close friend of Guy Burgess.

Most of the staff at Schmidt’s had been interned during the second world war which maybe explained why the waiters were infamously known as the rudest in the world. The restaurant still served food using an old European restaurant custom where the waiters brought meals from the kitchen and only then sold them to the customers.

After his relatively long lunch Maclean said goodbye to his friends and gratefully accepted an offer that he could stay with them while his wife was having her baby – she was only two weeks from having their third child. He said he’d call them in the following week to arrange the details.

The Welbeck Motors car hire form. Burgess writes his address as 'Reform Club'.

While Maclean was having lunch Burgess called on Welbeck Motors at 7-9 Crawford Street half a mile or so north of Marble Arch to pick up his hire-car – an Austin A70 that was due to be returned on June 4^th, ten days later. For this he paid £25 cash in advance – £15 for the hire of the car and £10 deposit.

Welbeck Motors became famous throughout the country ten years later when they created the first major fleet of mini-cabs. The fleet cost £560,000 and consisted of 800 Renault Dauphine cars that were being built in Acton at the time. Michael Gotla, the man behind the skillful publicity of Welbeck Motors, argued that the 1869 Carriage Act only applied to cabs that “plied for hire” on the street and that their mini-cabs only responded to calls phoned to the main office the number of which was WELBECK 0561.

The fares were only one shilling per mile – a lot cheaper than the traditional Austin black cabs and much to the chagrin of the traditional cabbies. The fleet of Renault Dauphines, the first to feature third-party advertisements on their bodywork, were a huge success, particularly to people who lived outside central London. Although passengers were advised not to concentrate too much on the Spanish “widow-maker” nick-name for the Renaults so named due to their very unsafe cornering.

A Corgi model of a Welbeck Motors' 'widow-maker' Renault complete with advertising

The Austin A70

Burgess drove the Austin down to Mayfair again where he dropped into Gieve’s the tailors at number 27 Old Bond Street at around 3 pm. The two hundred year old company had only been at the premises for about ten years because the original flagship store a few doors down at number 21 had been destroyed by a German bomb in 1940.

Incidentally, Gieves and Hawkes, now maybe the most famous bespoke tailoring name in the world, only merged in 1974 when Gieve’s Ltd bought out Hawkes enabling it to also acquire the valuable freehold of No. 1 Savile Row. The acquisition was good timing because Gieve’s flagship store in Old Bond Street was again destroyed by high-explosive not long after the merger, this time courtesy of the IRA. From then on, number 1 Savile Row became Gieve’s and Hawkes as it is today.

Gieve's after the IRA bomb in 1974

At Gieve’s Burgess bought a ‘fibre’ suitcase and a white mackintosh and then went to meet Miller again. After a couple of drinks he dropped the young American back at his hotel telling him: “I’ll call for you at half-past seven.” Burgess didn’t, and Miller never saw him again.

After his relatively long lunch Maclean took a taxi down to the Traveller’s Club – the West End club that had long been associated with the Foreign Office. He had two drinks at the bar and cashed a cheque for five pounds which he did most weekends so it wouldn’t have seemed unusual. There wasn’t anyone at the club he knew and he returned to his office just after three.

Traveller's Club at 106 Pall Mall

Burgess drove back to the flat where he met Hewit who had returned from his office. According to Hewit the phone rang and Burgess answered soon making it clear to his flatmate that he was talking to Maclean. Burgess was visibly upset and left the flat almost immediately. He was never to see Hewit again. Before he left he grabbed £300 in cash some saving certificates and quickly thew some clothes and his treasured copy of Jane Austen’s collected novels. He also asked to borrow Hewit’s overcoat.

He was next seen at the Reform Club in Pall Mall where he asked for a road map of the North of England presumably to lay a false trail and from the club he drove to Maclean’s home at Tatsfield in Surrey.

Maclean left the Foreign Office at exactly 4.45 and walked up Whitehall to Charing Cross Station joining the hurrying commuter crowd. He was followed as usual by the two Mi5 ‘dicks’ and they carefully made sure he entered the station and went through the barrier to catch his usual 5.19 train to Sevenoaks.

Burgess and Maclean arrived within half an hour of each other at the Maclean’s house. According to Maclean’s wife Melinda, Burgess was introduced to her as Mr Roger Stiles, in a business colleague. They all sat down for a birthday dinner at seven for which Melinda had cooked a special ham for the occasion. Eventually Maclean put a few things into a briefcase including a silk dressing gown and casually told his wife that he and ‘Stiles’ would have to go out on business but would not be away for more than a day.

Melinda Maclean leaving hospital in June after the birth of her baby. She once wrote to her sister saying: "Donald is still pretty confused and vague about himself, and his desires, but I think when he gets settled he will find a new security and peace. I hope so...He is still going to R. (the psychiatrist), however, and is definitely better. She is still baffled about the homosexual side which comes out when he's drunk, and I think slight hostility in general, to women."

With Burgess at the wheel of the hired cream-coloured Austin A70 they set off for Southampton at around 9 pm. Their destination was Southampton docks 100 miles away to catch the cross-channel ferry Falaise which was due to leave for St Malo at midnight. They made it with just minutes to spare and abandoning the Austin on the quayside they ran up the gangway almost as it was being raised. A dock worker called at them: “What about your car?” Burgess shouted: “Back on Monday.”

The ship that Burgess and Maclean took to St Malo

He wasn’t of course and Burgess and Maclean never set foot in Britain again. It wasn’t until five years later that the Krushchev admitted that the two traitors were now living in the Soviet Union. Burgess, who rather unsurprisingly didn’t really enjoy the Soviet lifestyle and still preferred to order his suits from Savile Row. He died of chronic liver failure due to alcoholism in 1963.

Maclean found it far easier than his  spying partner to assimilate into the Soviet system and became a respected citizen. He died of a heart attack in 1983.

Burgess sunbathing in Russia and making the best of a place he hated.

Ian Fleming’s first James Bond novel was written in 1952, the year after Burgess and Maclean’s defection. In it, James Bond has a crisis of confidence perhaps for the first and last time:

This country-right-or-wrong business is getting a little out-of-date,” he says, “Today we are fighting Communism. Okay. If I’d been alive fifty years ago, the brand of Conservatism we have today would have been damn near called Communism and we should have been told to go and fight that. History is moving pretty quickly these days and heroes and villains keep on changing parts.

www.youtube.com/watch?v=N2A2g-qRIaU

The ‘Third Man’ Kim Philby at a press conference in 1955 after he had been accused of being an associate of Burgess and Maclean in parliament. He shows the confidence and extraordinary charm that enabled to keep undercover for so long. He defected to Russia from Beirut in 1963 and died in 1988 of heart failure. While in the Soviet Union he had an affair with Melinda Maclean.

www.youtube.com/watch?v=BQ8BRj4YWLM

The ‘Fourth Man’ Anthony Blunt being interviewed by Richard Dimbleby as the Surveyor of the Queen’s Pictures. Blunt was one of the first people to search Burgess’s flat after he had absconded enabling him to remove any incriminatory material.

Obviously not documents considered 'incriminatory' by Anthony Blunt but these drawings of Lenin and Stalin by Burgess were left behind in the flat at New Bond Street after he had fled to Russia

Black American soldier and girlfriend at the Bouillabaisse Club in Old Compton Street, 1943

According to Alexander Cadogan, the Permanent Under-Secretary at the Foreign Office, the cabinet meeting at Great George Street on 13th October 1942 was very disappointing:

Everyone spoke at once while PM read papers. Discussion was on a low level.

Presumably Mr Cadogan was referring to cabinet papers or such stuff and not the Daily Telegraph or the Daily Mail but in fact the only contribution Churchill made during the whole meeting was to look up, after Viscount Cranborne, Secretary of State for the Colonies, had pointed out that one of his black Colonial Office staff had been excluded from a certain restaurant at the request of white American troops, and say:

That’s all right: if he takes his banjo with him they’ll think he’s one of the band.

Maybe not Churchill’s finest hour. The cabinet, with or without Churchill fully concentrating, agreed that it was important to respect how the US Army treated its black troops (they were completely segregated) and that it would be less problematic for all-concerned by concluding that:

“It was desirable that the people of this country should avoid becoming too friendly with coloured American troops”.

The war cabinet room at Great George Street. Protected by a five foot layer of solid concrete known as 'the slab'. Now part of the Churchill War Rooms.

Less than a year later on September 28th 1943 the Daily Express, who had recently been running a pretty strong anti-segregation and anti-colour bar campaign, put on a show at the Royal Albert Hall that was for and on behalf of the visiting ‘coloured American troops’.

At the beginning of the evening and to the sound of rolling drums a single file of two hundred black soldiers from a segregated division of the American Air Forces’ Engineers marched onto the stage of the Royal Albert Hall on the evening of September 28th 1943. The nervous soldiers were joined on stage by Roland Hayes the renowned black lyric-tenor who had travelled to England specifically for the occasion.

Roland Hayes and the ‘Negro Chorus’ were at the prestigious venue for the debut of an orchestral work called ‘Morning Freedom’. The piece of music was described as a ‘tone poem’ set to traditional ‘negro spirituals and songs’ by its composer – the controversial communist and, as far as the mores of the day allowed, the pretty-well openly gay Corporal Marc Blitzstein.

The dapper Roland Hayes performing at the Royal Albert Hall, 28th September 1943

Corporal Marc Blitzstein the gay, communist American composer.

The two-hundred strong 'negro chorus' at the Royal Albert Hall.

The black serviceman choir was originally put together by Private McDaniel from Kansas City as a quartet to sing spirituals and hymns they would have sung at church back home. Slowly the singing group grew to the two hundred men that made up the chorus Blitzstein used for the Albert Hall concert. Private McDaniel explained to Life magazine about the soldiers’ love of spirituals:

Christianity means a lot to us dark boys. A man that can sing a good spiritual can always find his way into another boy’s heart.

members of the audience at the Albert Hall watching Blitzstein's Morning Freedom

Roland Hayes, a son of two former slaves, was well known to British audiences of the time , although unlike his contemporary Paul Robeson, almost completely forgotten in Britain now. He had first came to London twenty three years ago. Hayes, born in Georgia, had been finding it next to impossible to find prestigious engagements in his homeland and decided to travel to Britain to further his career.

Incredibly within a year of arriving in London he was asked to give a private performance to George V and Queen Mary at Buckingham Palace on St Georges Day 1921. When Hayes arrived at the Palace, it was said that King George told his attendants: “There will be no formalities today. I shall meet Mr. Hayes man to man.” The royal recital immediately gave Hayes international prestige and he toured Britain and Europe to great success.

Roland Hayes painted by Glyn Philpott, 1923

Hugo Weisgall conducting American tenor Roland Hayes and the London Symphony Orchestra

The (Manchester) Guardian wrote of him:

The only really good tenor who has come along lately is the Negro Roland Hayes. His voice is genuine, pure warm and rich, and his artistic instincts are of the finest.

When Hayes visited Berlin in September 1923 he found the appreciation slightly harder to come by. Time magazine that year wrote:

To Germans, black men are “colonials”; they encountered them in the French line during the War; more recently, in the Ruhr. Learning that a member of this unpopular race was to appear publicly in their midst, Berliners were indignant. Protests were made to the American Ambassador against the “impertinence” of permitting a Negro to be heard on the concert stage, against the lèst majesté of offering musically scrupulous Berlin the tunes of the Georgia cotton-pickers.

Not entirely surprisingly, when Hayes appeared on stage, the audience started booing and hissing almost immediately. Hearing the noise the apprehensive singer suddenly decided to change his rehearsed programme and started the evening singing Schubert’s Du Bist Die Ruh. It was a German favourite and the crowd quietened almost immediately but by the end of the song, the audience, throwing their prejudice aside, were on their feet cheering and applauding the black American singer.

Roland Hayes at the Royal Albert Hall, 1943

Exactly twenty years later the British had started to bomb Berlin seemingly on a nightly basis in the hope of breaking the city’s morale. The tide in the war had changed and American soldiers were arriving in Britain in greater and greater numbers, including approximately 130,000 segregated black Americans. In 1943 the entire indigenous black population of Britain was around only a tenth of that number.

I am fully conscious that a difficult social problem might be created if there were a substantial number of sex relations between white women and coloured troops and the procreation of half-caste children." Herbert Morrison (the Home Secretary) in a memorandum for the cabinet, 1942.

The arrival of the black American troops caused disquiet in both the US and UK governments ostensibly because of the fear of racial mixing and miscegenation. Sir Percy James Grigg, the Secretary of State for War, advised in a circular that he intended to be sent to all senior officers in the British Army:

It is necessary for British men and women…to take account of the attitude of white American citizens. British soldiers and auxiliaries should try to understand the American attitude to the relationships of white and coloured people and that difficult problems do arise when people of different races live together.

Sir PJ, as he was known, betrayed a rather hideously ignorant and patronising attitude to black Americans in his circular. 'Mutual esteem' indeed.

Tom Driberg, then an Independent M.P., asked the Prime Minister in Parliament to “make friendly representations to the American military authorities asking them to instruct their men that the colour bar is not a custom of this country.” Time magazine in the US reported that Driberg’s question ‘peeled the blanket of official silence off a complex and dangerous problem’. The magazine quoted eyewitness stories such as:

A pub keeper, indignant at American whites’ behavior toward Negroes, put up a sign on his bar door:

For the use of the British and of colored Americans only.

Three Negroes on a bus leaped to their feet when a white officer boarded it. Said the girl conductor, tartly:

Sit down. This is my bus and this is England.

The Prime Minister Winston Churchill thought Driberg’s question was unfortunate and

…that without any action on my part the points of view of all concerned will be mutually understood and respected.

‘Understood’ and ‘respected’ weren’t probably the first words that came to mind for a lot of people when the US military issued an horrific memorandum of advice, albeit hurriedly withdrawn, for its commanders:

Colored soldiers are akin to well-meaning but irresponsible children. Generally they cannot be trusted to tell the truth or to act on their own initiative except in certain individual cases. The colored individual likes to ‘doll up’, strut, brag and show off. He likes to be distinctive and stand out from the others.

At a cabinet meeting it was agreed that the UK should not object to the Americans segregating their troops, but they must not expect the UK authorities to assist them with this policy. “It should be made clear to the US that there should be no restrictions on the use of canteens, cinemas, pubs and theatres by ‘coloured’ troops”.

"The morale of British troops is likely to be upset by rumours that their wives and daughters are being debauched by American coloured troops". Herbert Morrison, reporting to the cabinet, 1942.

"There are some white women in this country who feel that American coloured troops are particularly attractive and who run after them, that is a difficulty which will not be cured by keeping American coloured troops out of canteens or clubs at all". Memorandum from Viscount Simon, Lord Chancellor, 1942.

"For a white woman to go about in the company of a Negro American is likely to lead controversy and ill-feeling, it may also be misunderstood by the Negro troops themselves". Memorandum from Stafford Cripps, the Lord Privy Seal, 1942.

In reality this just wasn’t the case, for instance in 1944 American world heavyweight boxing champion Joe Louis was in Britain on a morale boosting tour. He decided to watch a film but when he entered the cinema, he was told by the manager that there was a special section in the cinema which was reserved for black troops. Louis recalled:

Shit! This wasn’t America, this was England. The theatre manager knew who I was and apologized all over the place. Said he had instructions from the Army. So I called my friend Lieutenant General John Lee and told them they had no business messing up another country’s customs with American Jim Crow.

Marc Blitzstein, determined to do his bit in the fight against fascism, joined the US 8th Army Air Force after the USSR entered the war. Stationed in London he was also the music director of the American Broadcasting Station (eventually to become ABC) and continued to compose.

Before the war he had written a musical that had made his name – The Cradle Will Rock. The show was about striking steel-workers and produced by the young Orson Welles (the success of the productions inspired him to start the Mercury Theatre).

Marc Blitzstein with Leonard Bernstein at the piano in 1943

Now Blitzstein was in London he became incensed about the blatant oppression and segregation of the second-class soldiers that made up the so-called ‘colored units’. Black soldiers, whatever their rank, were always seen as subservient to white officers. The segregation of the black soldiers inspired the composer to write Morning Freedom and he dedicated it to their struggle.

The 'Negro Chorus' performing 'Morning Freedom'.

Roland Hayes

At the Royal Albert Hall Morning Freedom was performed for the first time. McDaniel’s chorus was accompanied by the London Symphony Orchestra conducted by Sergeant Hugo Weisgall. The choir with the help of Roland Hayes also sang Blitzstein-arranged spirituals such as Go Down Moses and In the Sweet By and By. They also sang Ballad for Americans a political song made famous by Paul Robeson.

At the end of the concert the audience of over five thousand stood up and ‘enthusiastically acclaimed’ the performance. The Evening Standard wrote:

The most remarkable ceremony I have ever attended in that famous meeting place. The audience was in ecstasy…it was impossible to believe that the chorus had not sung together before in public

The Times was equally as effusive:

without parallel in the long and varied sequence of events that have taken place within its encircling walls.

Marc Blitzstein carried on composing after the war but in terms of commercial and popular success it was Blitzstein’s 1954 adaptation and translation of Kurt Weill and Bertolt Brecht’s Threepenny Opera that made the greatest impact. Incidentally, due presumably to the lack of threepenny bits in America, Blitzstein had toyed with calling the musical ‘The Two-Bit Opera’ or the ‘Shoestring Opera’.

The production, featuring Weill’s widow Lotte Lenya recreating her original role, albeit this time in English, enjoyed one of the longest runs in New York’s theatre history. By the end of the decade Blitzstein’s version of Mack the Knife became a huge hit for several singers including, of course, Bobby Darin, Louis Armstrong and Ella Fitzgerald.

In 1958, Blitzstein appeared before the House Committee on Un-American Activities where he admitted his membership of the Communist Party although he had left in 1949. However he refused to name names or co-operated any further.

In January 1964, holidaying in Martinique, and after a session of heavy drinking, Blitzstein picked up three Portuguese sailors. Pretending to initially respond to his sexual advances they eventually robbed him, beat him and stripped him of all his clothes. The injuries didn’t seem serious at first but he died the next day of internal bleeding on January 22nd 1964.

American serviceman were paid up to five times the amount their British equivalent earned.

On July 26, 1948, President Harry Truman signed Executive Order 9981. It at last integrated the military and ensured the equality of treatment and opportunity for black soldiers. It also made it illegal in military law to make a racist remark. Unsurprisingly the American army dragged its feet and the proper desegregation of the military was not complete for several years and in fact persisted during the Korean War. The last all-black unit in the US Army wasn’t disbanded until 1954.

www.youtube.com/watch?v=Hwn7dNXzvp0

American public information film called ‘Know Your Ally – Britain’. Apparently the island is as crowded as a sardine tin.

Nat ‘King’ Cole – In the Sweet By and By

Roland Hayes – Du Bist die Ruh

Paul Robeson – Ballad for Americans

Roland Hayes – He Never Said a Mumberlin’ Word

William Joyce

On the cold and damp morning of 3 January 1946 a large but orderly crowd had formed outside the grim Victorian prison in Wandsworth. The main gates of London’s largest gaol are situated not more than a few hundred feet from the far more salubrious surroundings of Wandsworth Common in South West London.

Some people had come to protest at what they considered an unjust conviction, while others, ghoulishly and morbidly, wanted to be as close as they could, to what would turn out to be, the execution of the last person to be convicted of treason in this country.

Wandsworth Prison

William Joyce had woken early that morning and although he ate no breakfast he drank a cup of tea. At one minute to nine, an hour later than initially planned, the Governor of Wandsworth Prison came to the condemned man’s cell to inform him that his time had come.

The walk to the adjacent execution chamber was but a few yards but there was just enough time for Joyce to look down at his badly trembling knees and smile. Albert Pierrepoint, the practiced and experienced hangman, said the last words that Joyce would ever hear: ‘I think we’d better have this on, you know’ and placed a hood over the condemned man’s head followed immediately by the noose of the hanging rope.

A few seconds later the executioner pulled a lever which automatically opened the trap door beneath Joyce’s feet. Almost instantaneously Joyce’s spinal cord was ripped apart between the second and third vertebrae and the man known throughout the country as Lord Haw-Haw, was dead.

The gates of HMP Wandsworth around the time of William Joyce's execution

At about the same time as the hangman pulled his deadly lever a group of smartly dressed men in winter coats stepped away from the main crowd outside the gates of the prison and behind some nearby bushes, almost surreptitiously, were seen to raise their right arms in the ‘Heil Hitler!’ salute.

At eight minutes past nine a prison officer came out and pinned an official announcement that the hanging of the traitor William Joyce had taken place. At 1pm the BBC Home Service reported the execution and read out the last, unrepentant pronouncement from the dead man;

In death, as in this life, I defy the Jews who caused this last war, and I defy the power of darkness which they represent. I warn the British people against the crushing imperialism of the Soviet Union. May Britain be great once again and in the hour of the greatest danger in the west may the Swastika be raised from the dust, crowned with the historic words ‘You have conquered nevertheless’. I am proud to die for my ideals; and I am sorry for the sons of Britain who have died without knowing why.

The official declaration of William Joyce's execution pinned on the gates of the prison

The official notice of execution being pinned on the gates of Wandsworth Prison

William Joyce had actually been born in Brooklyn, New York forty years previously to an English Protestant mother and an Irish Catholic father who had taken United States citizenship. A few years after the birth the family returned to Galway where William attended the Jesuit St Ignatius College from 1915 to 1921. William had always been precociously politically aware but both he and his father, rather unusually for Irish Catholics at the time, were both Unionists and openly supported British rule.

In fact Joyce later said that he had aided and ran with the infamous Black and Tans, the notoriously indisciplined and brutal British auxiliary force sent to Ireland after the First World War in an attempt to help put down Irish nationalism. Joyce actually became the target of an IRA assassination attempt in 1921 when he was just sixteen.

For his own safety William immediately left for England, and after a short stint in the British army (he was discharged when it was found he had lied about his age) he enrolled at Birkbeck College of the University of London where he gained a first but also developed an initial interest in Fascism.

In 1924, while stewarding a Conservative Party meeting at the Lambeth Baths in Battersea, a seventeen year old Joyce was attacked by an unprovoked gang in an adjacent alley-way and received a vicious and deep cut from a razor that sliced across his right cheek from behind the earlobe all the way to the corner of his mouth. After two weeks in hospital he was left with a terrible and disfiguring facial scar. Joyce was convinced that his attackers were ‘Jewish communists’ and the incident became a massive influence on the rest of his life.

The bandage was covering twenty six stiches, he remained in hospital for two weeks

In 1932 Joyce joined Oswald Mosley’s British Union of Fascists and within a couple of years he was promoted to the BUF’s director of propaganda and not long after appointed deputy leader. Joyce was a gifted speaker and for a while became the star of the British fascist movement. He was instrumental in moving the union towards overt anti-semitism – something of which Mosley had always been relatively uncomfortable.

Joyce’s career with the British Union of Fascists only lasted five years when, with membership plummeting, a devastated Joyce was sacked from his paid position in the party by Mosley in 1937.

William Joyce, on the far left, with Oswald Mosley in 1934

In late August 1939, shortly before war was declared and probably tipped off by a friend in MI5 that he was about to be arrested, Joyce and his wife Margaret fled to Germany. Joyce struggled to find employment until he met fellow former-Mosleyite Dorothy Eckersley who got him recruited immediately for radio announcements and script writing at German radio’s English service in Berlin.

Crucially this was at a time when his British passport was still valid (although born in New York and brought up in Ireland Joyce had lied about his nationality to obtain a British passport – complications and niceties such as proving one’s identity with a birth certificate weren’t needed at the time) ostensibly to accompany Mosley abroad in 1935.

Dorothy Eckersley

The infamous nickname of ‘Lord Haw Haw’, associated with William Joyce to this day, was coined by a Daily Express journalist called Jonah Barrington. It’s not widely known but the title was actually meant for someone else completely – almost certainly a man called Norman Baillie-Stewart who had been broadcasting in Germany from just before the war. The nickname referenced Baillie-Stewart’s exaggeratedly aristocratic way of speaking. Barrington had written:

A gent I’d like to meet is moaning periodically from Zeesen [the site in Germany of the English transmitter]. He speaks English of the haw-haw, dammit-get-out-of-my-way variety, and his strong suit is gentlemanly indignation.

Norman Baillie-Stewart - the real Lord Haw Haw

Listening to Lord Haw Haw’s broadcasts (which famously always began with the words “Germany Calling, Germany Calling”) was officially discouraged, although incredibly about 60% of the population tuned in after the BBC news every night. The BBC’s output at the beginning of the war was said to have been exceedingly dreary (plus ca change) and the British public seemed to prefer being shocked rather than bored.

Lord Haw Haw’s over-the-top and sneering attacks on the British establishment were really enjoyed, but in an era of state censorship and restricted information, there was also a desire by listeners to hear what the other side was saying. At the start of the war, simply because there was more to brag about, the German news reports were considered, by some people, to contain slightly more truth than those of the BBC.

William and Margaret Joyce in Germany

As the tide turned in the latter stages of the war Joyce and his wife moved to Hamburg. On the 22nd April 1945 he wrote in his diary:

Has it all been worthwhile? I think not. National Socialism is a fine cause, but most of the Germans, not all, are bloody fools.

Eight days later, and on the very day that Adolf Hitler and Eva Braun committed suicide in their Berlin Bunker, Joyce made his last drunken broadcast – the remains of his Irish accent can be heard through his slurring voice.

www.youtube.com/watch?v=Y_v8yKaHxpg

The actual microphone and a script used by Joyce for his German broadcasts

At the end of the war William and his wife Margaret fled to a town called Flensburg near the German/Denmark border and it was there, in a nearby wood, that Joyce was captured by two soldiers. They, like Joyce, were out looking for firewood. Joyce stopped to say hello and one of the soldiers asked “You wouldn’t by any chance be William Joyce, would you?”. To ‘prove’ otherwise, Joyce reached for his false passport and one of the soldiers, thinking he was reaching for a gun, shot him through the buttocks, leaving four wounds.

The arrest was utter poetic justice. The soldier who had shot the infamous broadcaster was called Geoffrey Perry, however, he had been born into a German jewish family as Hourst Pinschewer and had only arrived in England to escape from Hitler’s persecutions. So in the end a German Jew, who had become English had arrested an Irish/American who pretended to be English but had become German.

The Woods near the German/Denmark border where Joyce was shot and arrested

Margaret Joyce at her arrest in 1945

A well-guarded William Joyce after his arrest in Germany 1945

Back in London, he was charged at Bow Street Magistrates court and in the dock he quietly stated “I have heard the charge and take cognisance of it.” He was subsequently driven to Brixton Prison in a Black Maria and on arrival, he said “So this is Brixton.” “Yes,” retorted his guard, “not Belsen.”

The trial of William Joyce began on 17 september 1945 and for a short period of time, when his American nationality came to light, it seemed that he might be acquitted. “How could anyone be convicted of betraying a country that wasn’t his own?” It was argued. However, the Attorney General, Sir Hartley Shawcross, successfully argued that Joyce’s possession of a British passport (even if he had misrepresented himself to get it) entitled him to diplomatic protection in Germany and therefore he owed allegiance to the King at the time he started working for the Germans.

It was on this contrived technicality that Joyce was convicted of treason on 19th September 1945. The penalty of which, of course, was death.

Sir Hartley Shawcross, he later said that the trial of William Joyce was not one of which he was especially proud

A sizeable minority of the population were uncomfortable with the verdict mainly because of the nationality issue but also because he was alway seen as a bit of a joke-figure rather than someone trying to bring the country down. On Christmas day 1945 an accountant named Edgar Bray wrote to the King:

I know nothing about Joyce, and nothing about his Politics. I don’t know much about Law either, but I do know enough to be firmly convinced that we are proposing to hang Joyce for the crime of pretending to be an Englishman which crime, so far as I am aware, in no possible case carries a Capital penalty. It happens to be just our bad luck, that Joyce actually WAS an American, (and now IS a German subject), but that is no reason to hang him, because we are annoyed at our bad luck.

The historian AJP Taylor made the point that Joyce was essentially hanged for making a false statement on a passport – the usual penalty for which was a paltry fine of just two pounds.

Interior of Wandsworth Prison

A cell in Wandsworth Prison in the late 1940s

Albert Pierrepoint

Not long after Albert Pierrepoint’s expert execution and with the blood from Joyce’s scar, that had burst open during the hanging, still dripping onto a spreading red stain on the canvas floor, the body was taken to the prison mortuary. A coroner pronounced that the death was due to “injury to the brain and spinal cord, consequent upon judicial hanging”.

There were specific rules pertaining to the burial of executed prisoners at the time, and William Joyce’s body was treated as any other. True to the normal rules he was buried within the Wandsworth Prison walls, in an unmarked grave, and was allowed no mourners. The body was dumped in the middle of the night, literally unceremoniously, on top of the remains of another man, a murderer called Robert Blaine who had been hanged five days previously.

In total 135 people were hanged at Wandsworth Prison during the nineteenth and twentieth centuries, with the final execution taking place when Henryk Niemasz was hanged on 8 September 1961 for murder of Mr and Mrs Buxton in Brixton.

Incidentally the gallows at Wandsworth were not dismantled until 1993, 29 years after the last execution in this country and 24 years after the death penalty was abolished for murder. Incidentally the death penalty still existed for treason until 1998.

The condemned cell is now used as a television room for prison officers.

Lord Haw Haw pontificating

Elvira Barney arriving at her parents house at 6 Belgrave Square, 7th July 1932

Visiting England apparently on a whim and a year before she made her first film late in 1925, a seventeen year-old Louise Brooks became a dancer at the Cafe de Paris in Coventry Street. It was here that she reputedly became the first person to dance the Charleston in London. The Piccadilly nightclub had quickly become the place to be seen after it opened a year earlier in December 1924, not least because the Prince of Wales soon became a regular visitor.

Brooks later wrote about the so-called ‘Bright Young Things’ she had met during her time in London and waspishly described them as a dreadful, moribund lot. She added that when Evelyn Waugh wrote Vile Bodies about them, only a genius could have made a masterpiece out of such glum material.

The Cafe de Paris in 1932

Louise Brooks in 1924

Marion Harris in London in 1932

In May 1932, and eight years after Brooks danced in front of the rich and famous at the Cafe de Paris, the celebrated American singer Marion Harris was in the middle of one of her long engagements at the Cafe de Paris. Harris was known to audiences at the time as the first white woman to sing the blues and after moving to England at the beginning of the thirties was performing to great success in the capital city. The Prince of Wales was actually a big fan and often came to see her sing. One night after she had performed, the manager came into her dressing room excitedly announcing that the Prince of Wales had been so impressed that he would like her to have a drink at his table. Miss Harris coolly declined, telling him that “If your customers get to know you too well, they don’t come back and pay money to see you. The illusion is destroyed.”

She may have been on stage singing ‘the blues’ – the acts began their set at eleven – when just after midnight on 30th May 1932 an intoxicated couple (both of whom would have undoubtedly considered themself a Bright Young Thing, albeit slightly tarnished), entered the famous West End night for a rather late supper.

The couple were Elvira Barney and her louche bisexual lover Michael Stephen and they had travelled by cab to Coventry Street after holding one of their numerous parties at the home they shared in Williams Mews just off Lowndes Square in Knightsbridge. After they had finished their meal at the Cafe de Paris and had further drinks at The Blue Angel in Dean Street they returned back home in the early hours of that morning.

It wasn’t long before the neighbours, not for the first time, started to hear screaming and yelling from the first floor and Elvira was reported to have shouted:

“Get out, get out! I will shoot you! I will shoot you!’

Almost immediately the street heard the report of a pistol shot echoing into the night and almost immediately a neighbour heard Barney crying

“Chicken, chicken, come back to me. I will do anything you want me to.”

At about 4.50am, after a frantic call to his house just ten minutes earlier, Doctor Thomas Durrant arrived at 21 Williams Mews and came across Barney continually repeating:

“He wanted to see you to tell you it was only an accident. He wanted to see you to tell you it was only an accident.”

On the stairs, shot in the chest at close range, lay a distinctly moribund Michael Stephen.

‘There was a terrible barney at no. 21′, a neighbour later told the police, apparently unconscious of the pun.

Michael Stephen

21 William Mews and a dead Michael Stephen

21 William Mews today

Macdonald Hastings wrote about the fatal evening in his book The Other Mr Churchill, (this Mr Churchill was a forgotten about firearms expert and not the prestigious Prime Minister) and he described the police being incredibly shocked when they entered the mews house:

‘Over the cocktail bar in the corner of the sitting room there was a wall painting which would have been a sensation in a brothel in Pompeii. The library was furnished with publications which could never have passed through His Majesty’s Customs. The place was equipped with the implements of fetishism and perversion.’

Shocked or not, and despite Elvira at one point striking Inspector Campion in the face saying: “I will teach you to say you will put me in a cell, you vile swine,” after she had made her statement, the police, obviously knowing their place, simply allowed her to go back to her family home at nearby 6 Belgrave Square. She was accompanied by her parents, Sir John and Lady Mullens.

Four years previously, a twenty-three year old Elvira, despite her parents protestations, had married an American singer and entertainer called John Sterling Barney. When they met, at a society function held by Lady Mullens, he had been performing in a ‘top-hat, white-tie and tails’ trio called The Three New-Yorkers. They were relatively successful in the UK at the time and often played at the Cafe de Paris.

The Three New Yorkers at The Cafe de Paris - John Barney is on the left

The Three New Yorkers and a couple of Bell-boys

By many accounts the facile John Barney was a rather unpleasant man and a friend of Elvira’s once recalled:

“One day she held her arms in the air and the burns she displayed – there and elsewhere – were, she insisted, the work of her husband who had delighted in crushing his lighted cigarettes out from time to time on her bare skin.”

Violent rows started within weeks of the marriage and after a few months the American returned back to the United States never really to be heard of again. Elvira, according to her biographer Peter Cotes, went off the rails and ‘started sniffing the snow…and became the demanding but generous mistress of a number of disorientated and sexually odd lovers.’ Unfortunately he doesn’t really go into any more detail but the description goes someway to explain how, at the start of 1932, she ended up sharing her bed (and her bank account) with the drug-dealing ‘dress-designer’ Michael Scott Stephen.

Sir John Mullens, with his society connections managed to persuade the former Attorney-General Sir Patrick Hastings to defend his daughter. Hastings, in his early fifties, was at the height of his fame as a Kings Council and towards the end of the trial made a final address to the jury, that the judge – a Mr Justice Humphreys – later called the best he had ever heard.

The Honourable Mr Justice Humphreys picking up a London Metro on the way to court

Sir Patrick Hastings on the cover of Time in 1924

The jury must have also been impressed with Sir Patrick’s speech and after two hours returned a not guilty verdict. On his way out of the court Mr Justice Humpheys exclaimed:

‘Most extraordinary! Apparently we should have given her a pat on the back!’

The jury had acquitted her but Fleet Street weren’t going to let her off that easily and they gleefully reported that Elvira Mullens (the name she had reverted to) had shouted on the dance floor of the Cafe de Paris soon after the court case,

‘I am the one who shot her lover – so take a good look at me.’

Sir Patrick Hastings described Elvira during the trial as ‘a young woman with the rest of her life before her’. Unfortunately the rest of her life lasted a only four short years and she was found dead in a Parisian hotel room. After a typical long night of drinking and taking cocaine she had decided to return back to her room complaining that she felt cold and unwell. She was discovered later that night half on her bed, half off, with signs of haemorrhage around her mouth. The years of drinking and drug-taking had finally taken their toll.

The police holding back the crowd at the Old Bailey during the trial of Elvira Barney

Marion Harris in New York

Not long after Elvira Barney’s death in Paris, Marion Harris retired from showbusiness and married a successful English theatrical agent called Leonard Urry. In early 1944 their home in Rutland Street (just a few hundred yards west of Williams Mews) was razed to the ground by a V1 flying bomb.

Harris returned to America completely traumatised and never really recovered from seeing her home completely destroyed. On Sunday, April 23, 1944, alone in a New York hotel room she fell asleep while smoking a cigarette. It set the room alight and it was never disclosed whether she died of burns or suffocation from the smoke.

The Cafe de Paris, unlike the majority of theatres and nightclubs in the West End, remained open at the start of the second world war. This was probably because of the rich and famous patrons having a slight influence on the wartime licensing regulations, however it was said that the dance-floor was so far underground that it would be completely safe when the air-raid sirens sounded.

Ken 'Snakehips' Johnson

On Saturday 8th March 1941 Ken ‘Snakehips’ Johnson and the West Indian Orchestra were playing at the Cafe de Paris as usual. While carefully not mentioning the actual club or the band leader (due to wartime censorship) Time magazine reported what happened subsequently:

The orchestra at London’s Cafe de Paris gaily played Oh, Johnny, Oh Johnny, How You Can Love! At the tables handsome flying Johnnies, naval Jacks in full dress, guardsmen, territorials, and just plain civics sat making conversational love. The service men were making the most of leave; the civilians were making the most of the lull in bombings of London.

Sirens had sounded. Most of London had descended into shelters, but to those in the cabaret, time seemed too dear to squander underground. Bombs began to fall near by: it was London’s worst night raid in weeks. The orchestra played Oh, Johnny a little louder.

Then the hit came. What had been a nightclub became a nightmare: heaps of wreckage crushing the heaps of dead and maimed, a shambles of silver slippers, broken magnums, torn sheet music, dented saxophones, smashed discs.

A special constable with the rather splendid name Ballard Berkeley was one of the first on the scene. He saw Snakehips Johnson decapitated and elegantly dressed people still sitting at tables seemingly almost in conversation, but stone dead. He was shocked to see looters, mingling with the firemen and the police, cutting the fingers from the dead to get at their expensive rings. Ballard Berkeley many years later became famous as the actor who played the major in Fawlty Towers.

Cafe de Paris, 9th March 1941

In 1929 British International Pictures released Piccadilly starring the beautiful Chinese-American actress Anna May Wong. The scene where Wong’s character Shosho performs her exotic dance in front of an adoring nightclub crowd was filmed in location at the Cafe de Paris. The film also includes a brief appearance from Charles Laughton playing a gluttonous diner – his first feature film performance.

www.youtube.com/watch?v=AQA2zemtLrE

In 1948, the Cafe de Paris was refurbished and seven years after the tragic death of Snakehips Johnson the doors reopened. Although it was again graced by royalty, notably Princess Margaret, the club never really regained its sophisticated aura it had before the war.

The only evening of note I can find was on 29th September 1965 when Lionel Blair introduced, to an extremely grateful public no doubt, his new dance called ‘The Kick’.I’m not sure but I don’t think it was a storming success.

Lionel Blair accompanied by Cilla Black, Joe Loss and Billy J Kramer dance 'The Kick' at the Cafe de Paris in 1965

Billie Holiday – These Foolish Things

Al Bowlly – Dinner For One Please, James

A woman showering at a Red Cross decontamination centre 1939

Artists throughout centuries have often used mythical, historical or anthropological subjects as an excuse to portray the human nude, usually women of course. Carl Mydans – the Life magazine photographer – in rather an original way, used a WW2 Gas Decontamination centre in Westminster as his excuse. Great photos that they are.

Red Crosses in Mustard gas decontamination gear in 1939 probably before WW2 began.

As the inevitable war with Germany came closer, the British government was terrified with the thought of gas or chemical weapons being used. The horror of the First World War meant that most countries, including Britain and Germany, were signatories to the Geneva Gas Protocol of 1925 which banned the used of chemical and biological weapons (although not the stockpiling of them).

The huge distrust of a re-armed Germany, however, meant that gas decontamination centres were set up all over London before the war. Seven of them in Westminster alone. The centres were often built in swimming baths and the only one in the West End of London was at the Marshall Street Baths in Soho. In the end chemical weapons were left unused throughout the duration of the war. It was said that Hitler was briefly blinded by mustard gas in the First World War and for this reason he was reluctant to use them.

This was what all the fuss was about. A Canadian soldier from WW1 suffering from Mustard gas poisoning

The Marshall Street Baths, which are just about still there after they were closed down in 1997 by Westminster council, were built between 1928 and 1931. They were paid for by public funds for the general health and well-being of local people. The building consisted of a main pool lined with Sicilian marble and a ‘second class bath’ which measured 70ft by 30ft situated behind it. The whole complex had a child’s welfare centre, a public laundry and public bathing facilities.

When the baths were built a private tap or toilet was a luxury in Soho and private bathrooms were practically unheard of. Many Soho houses didn’t have electricity until well after the war and extraordinarily the last Soho house to convert from being gas-lit wasn’t until 1986.

Judith Summers in her book on Soho described children going for their weekly visit to the Marshall Street Hot Baths – a ritual that would have been the same for children all over the capital.

For many children this was not so much a chance to get clean as a social outing. Armed with their soap and towel, they would all set off together in a big gang, often at four o’clock on a Friday after school. Once inside, they would pay 2d or 3d for a Ladies or Gents Second Class bath. There were also First Class baths, which had the added luxury of providing the bather with a towel to stand on.

They waited on the old wooden benches until a bath was free and, after the attendant called out, ‘Next, please,’they would each go into a cubicle, while the woman set the small brass clock on the door and ran the bath from taps in the corridor outside. Her young customers were rarely satisfied with the temperature of the water, and their hackles still rise when they talk about her today.

Marshall Street baths was right in the middle of London’s theatre-land and was often used for rehearsals and training for any of the productions that used water. On November 4th 1934 the pantomime impresario Julian Wylie held auditions for a new huge production of Cinderella that was to be put on at Drury Lane theatre.

Auditions for Cinderella at Marshall Street Baths 9th November 1934

Julian Wylie, so as to professionally inspect the proposed chorus line, got as close to the edge as he dared. It was all to much though, and he died a few days later.

“It was a production worthy of Drury Lane. One of the scenes was a vast lake, into which marched an army of girls, entering the water and walking-down, down, down until they were entirely submerged and lost to sight beneath the surface of the lake. It was an exciting scene and provided some thrills at rehearsals too.”

Unfortunately, and after he had chosen all the chorus girls that were happy to get wet and just before the first performance of the pantomime, Wylie died. It was said, and I suppose there are worse ways of going, that he died as a result of an addiction to large quantities of ice-cream. I kid you not.

The programme for the Aquashow at Earls Court in 1948

In 1948 more rehearsals took place at the Marshall Street baths, this time for a massive production that was to be put on at Earls Court called the Aqua-show. It starred the erstwhile Tarzan and ex-Olympic swimmer Johnny Weismuller but also the 24 year old British Olympic ice-skater, dancer and actress called Belita. Born in Nether Wallop in Hampshire, her real name was Gladys Olive Jepson-Turner but known to everyone as ‘Belita – The Ice Maiden’

Belita and Johnny Weissmuller rehearsing at Marshall Street Baths February 1948

Johnny and Belita at Marshall Street. Weissmuller won five gold medals at the Olympics in 1924 and 1928, broke sixty seven world records and retired apparently never losing a race.

Although a trained ballet dancer, she took up professional ice-skating in America ostensibly for the money (probably on the advice of a very controlling mother). She was lured to Hollywood and appeared in several highly-profitable but low-budget films such as Suspense, Lady Let’s Dance and Silver Skates. She also became famous for her underwater swimming and performing in the first ever (and last?) underwater ballet.

Silver Skates released in 1943

Belita in Suspense released in 1946. The director asked to her perform this particular move twice. She refused.

Belita in Gene Kelly's Invitation To Dance, 1956

In the early 1950s there seemed to be a fashion for theatrical shows on ice and she became famous for her appearances in ice show spectaculars at the Empress Hall in London, starring with Max Wall, Norman Wisdom and Frankie Vaughan. She also had her own show, Champagne on Ice, put on at the London Hippodrome. After retiring, Belita died in the South of France in 2005.

photograph by David Warwick, 2005

photograph by David Warwick, 2005

In 1997 Westminster council decided to close down the historical Marshall Street baths for safety reasons. Originally they were going to demolish it completely but after being dissuaded, it is now due to be re-opened as part of a leisure centre, street-cleaning depot and an apartment block but with only the main pool remaining.

Marshall Street, July 2009

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June Christy with Stan Kenton – Angel Eyes

Billie Holiday – I’ll Be Seeing You

Frank Sinatra – Fools Rush In

'Spam a la Greque' served at the White Tower restaurant, 1 Percy Street, W1.

Everybody knows there was extensive food rationing during the second world war, in London, as well as the rest of the country. However meals eaten away from home, whether in expensive West End restaurants or industrial canteens, were what was called, ‘off ration’.

Rationing hadn’t lasted that long before it was soon noticed by many people, especially those working and living in the West End, that the rich seemed to be able to enjoy close to pre-war levels of gastronomy at the best restaurants and hotels.

Chaufroid de Volaille Yorkaise served at Piccadilly's Regent Palace Hotel. The chef hasn't gathered yet that it won't matter how much poking around he does, he won't make it look edible.

American Schnitzel Garni from a Russian restaurant

Spam served at Francati's. Mmm.

Vol au Vents of spam and white sauce with lettuce. Yum.

An Americanised Chinese meal made with, you've guessed it, more Spam

Many people bitterly resented the ostentatious gorging on expensive meals. There was a definite sense of, what was described by the Ministry of Agriculture and Food at the time as, ‘an inequality of sacrifice’.

In 1942 the Government acted by creating a flat maximum charge that prevented restaurants providing meals to customers that cost more than five shillings (25p). Although it was pretty easy for a few of the more salubrious restaurants to charge extras over and above this sum (say for the orchestra or the dancing and the like) generally though, the aim of the new law worked, and it pretty well made the morale-dissipating effect to disappear.

That said, it didn’t really matter how luxurious and expensive your establishment was, decent meat, along side many other ingredients, was often very hard to source. So throughout the war the ubiquitous Spam increasingly found itself on restaurant menus. The cheap reconstituted pork product was invented in 1937 in America, and the name is either an abbreviation of Spiced Ham or short for Shoulder of Pork and Ham. No one seems to know.

The fascinating photos above were taken by Ralph Morse for Life magazine and published January 1944.

Planked Spam, double yum. A more typical British use of Spam during WW2 and beyond would have been Spam Fritters. These were often served in Fish and Chip shops as fish became more scarce.

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Noel Coward – London Pride

Blackfriars Road, October 25th 1940

During a daylight raid on 25th October 1940 a huge bomb landed on the Blackfriars Road destroying some trams which were trying to temporarily shelter from the onslaught. As the photograph shows us it was obviously to no avail. On the other side of the road, on the corner with Union Street, a building, known originally as the Surrey Chapel but subsequently as the Blackfriar’s Ring, was also very badly damaged.

The Surrey Chapel around 1900. The photographer would be standing where The Ring pub now stands.

The Blackfriars' Ring partly destroyed by a bomb October 1940.

The Ring was an octagonal building built in 1782 by the charismatic church orator Reverend Rowland Hill as a chapel (he thought that the shape ‘prevented the devil hiding in any of the corners’). Disused and empty by the end of the 19th century, it had been a boxing ring since 1910 when Bella Burge and her husband, the ex-prize fighter Dick Burge, acquired the lease believing it would make an ideal wrestling and boxing ring. They named it, simply, ‘The Ring’ and it would become the first indoor boxing ring for the working classes – the sport until then had been generally fought by working class men in front of an upper class audience.

Bella of Blackfriars’ as she was known, was also the first to break the taboo of women attending boxing bouts when in 1914 she and her actress friends (she was close to music hall star Marie Lloyd and her family practically all her life) were the first to become female regulars at ‘The Ring’.

After the first bombing raid, The Ring was still standing, albeit badly damaged, but another bombing raid during March 1941 almost completely destroyed the building and it was eventually demolished.

The blitz on London had been continuing since the previous September and by now over 40,000 people had lost their lives and an incredible 250,000 people were homeless.

The Ring, now completely destroyed and ready for demolition. March 1941.

Blackfriars Road, June 2009. The Ring pub can be seen in the distance.

Surrey Chapel and 'The Ring' would have been situated across the road on the right where Palestra House now stands. Palestra is Greek for a public place used for wrestling. Although I expect you knew that.

Bomb damage underneath the bridge is still visible 68 years later.

Two or three weeks after the bomb that almost completely destroyed the Blackfriars’ Ring, another bomb silently dropped onto the more salubrious surroundings of Jermyn Street at 3am on 17th April 1941. The Luftwaffe had just introduced a new terrifying weapon – the parachute mine – it was packed full of high explosives, was eight feet long, two feet wide and weighed two and a half tons. They were designed to explode in mid-air purposely to cause a greater loss of human life. When the bomb exploded above Jermyn Street it severely damaged several buildings including an apartment block called Duke’s Court, which happened to be the home of one of the country’s favourite recording artists – Albert Alick ‘Al’ Bowlly.

The popular singer was killed instantly. Although, it was said, that his body strangely appeared untouched even though the massive explosion had blown Bowlly’s bedroom door off its hinges and it had fatally smashed against his head.

During his career Bowlly recorded over 1000 songs and was said by many to have invented the style of singing called ‘crooning’ where the singer utilises the amplification of the microphone or even a megaphone. The last song he recorded was on 8th April, just a week before he died. It was prophetically called When That Man Is Dead And Gone. The song was actually about Hitler and written, earlier that year, by Irving Berlin:

What a day to wake up on

What a way to greet the dawn

Some fine day the news’ll flash

Satan with a small moustache

Is asleep beneath the lawn

When that man is dead and gone

A devastated Jermyn Street, 17th April 1941

Bowlly, along with many other victims from that night of intensive bombing, was buried in a mass grave at the Westminster Cemetery on the Uxbridge Road in Hanwell. It was one of the worst nights of the Blitz and there was no time or energy for sentiment. His name on the monument was spelled Albert Alex [sic] Bowlly.

I personally came across Al Bowlly when several of his recordings were used in Dennis Potter’s Pennies From Heaven and also ‘The Singing Detective’. It could be said that, in relation to other singers of his time, probably more popular than he has ever been. His recordings have also appeared in some of the great cult films of the last few decades including The Shining, Withnail And I and Amelie.

Al Bowlly and Jimmy Messene – That Man Is Dead And Gone

Al Bowlly with Ray Noble and his Orchestra – Guilty (Amelie)

Al Bowlly with Ray Noble and his Orchestra – Hang Out The Stars in Indiana (Withnail And I)

Al Bowlly with Ray Noble and his Orchestra – Midnight, the Stars and You (The Shining)

Al Bowlly with Lew Stone and his Band – Just Let Me Look At You

Al Bowlly with Lew Stone and his Band – You Couldn’t Be Cuter