Not going

A New Year's Eve message from J B Priestley

In between writing more than 100 novels (including The Good Companions), a number of implicitly socialist plays (including An Inspector Calls) and broadcasting as the "national voice of common sense" for the BBC during the Second World War, J B Priestley also wrote extensively for the New Statesman. A small selection of his articles (including a brilliantly grumpy seasonal message -- "I shall enter 1964 with the conviction that there is too much genius about and not enough talent . . . Happy New Year!") can be accessed here.

He was, unquestionably, one of the 20th century's most prolific men of letters -- and yet he did not see himself as such. In a gloriously self-indulgent little essay entitled "Smoking in a Hot Bath", Priestley reflects:

People still say to me "The way you work!", and behind the modest smirk I laugh secretly, knowing myself to be one of the laziest and most self-indulgent men alive. Long after they have caught the 8.20, opened the morning mail, telephoned to the managing director of the Cement Company, dictated yet another appeal to the Board of Trade, I am lying in my hot bath, smoking a pipe.

This essay can be found, along with 113 others, in Great Northern Books' recently published 60th-anniversary edition of one of Priestley's most popular collections of short pieces, Delight. As a former editor of the New Statesman, Paul Johnson, put it: "His essays, many of which I published . . . were in the grand tradition of Hazlitt and Lamb, Chesterton and Belloc . . . these wonderful essays are among his finest."

So, it makes perfect sense that Cultural Capital (re)turns to Delight for our 2009 New Year's Eve message. Here, courtesy of Priestley on particularly curmudgeonly form, is exactly the justification you've been looking for, for "Not Going" to that utterly uninspiring party at which you'd hitherto felt obliged to make an appearance. Happy New Year, all!

One of the delights known to age and beyond the grasp of youth is that of Not Going. When we are young it is almost agony not to go. We feel we are being left out of life, that the whole wonderful procession is sweeping by, probably for ever, while we are weeping or sulking behind bars. Not to have an invitation -- for the dance, the party, the match, the picnic, the excursion, the gang on holiday -- is to be diminished, perhaps kept at midget's height for years. To have an invitation and then not be able to go -- oh cursed spite! Thus we torment ourselves in the April of our time. Now in my early November not only do I not care the rottenest fig whether I receive an invitation or not, but having carelessly accepted the invitation I can find delight in knowing that I am Not Going. I arrived at this by two stages. At the first, after years of illusion, I finally decided I was missing nothing by not going. Now, at the second and, I hope, final stage, I stay away and no longer care whether I am missing anything or not. But don't I like enjoying myself? On the contrary, by Not Going, that is just what I am trying to do.

NICOLA TYSON, COURTESY SADIE COLES HQ, LONDON
Show Hide image

Dave Haslam's history of venues makes nightclub walls talk

Life After Dark: a History of British Nightclubs and Music Venues reveals the ghosts of hedonism past.

“If these walls could talk . . .” The cliché owes its force to the notion that buildings are sentient – the suggestion that what happens inside them leaves a trace element. We feel the power of this idea in very different ways as we tour, say, Versailles or Dachau. It’s an idea very much at play in the best passages of this book.

There is a wonderful moment early on when the author tours the Dean Street Townhouse building in Soho, central London, along with a few young members of staff. The location is now an upscale hotel and restaurant but, as Haslam explains to them, back in 1978 the basement hosted Billy’s nightclub. Billy’s was run by Steve Strange and played host to the burgeoning New Romantic movement, with the likes of Boy George and Spandau Ballet all trooping down the steps off Meard Street. Later on, in 1982, the ultra-hip original Goth club the Batcave opened its doors on the top floor of the same building, and the elevator would have ferried the likes of Robert Smith of the Cure and Marc Almond skywards.

The twentysomething staff don’t seem altogether sure who these people are, but Haslam goes further as he tells them (no doubt to further head-scratching) that the building has in fact been a nightclub since the 1920s, when it was called the Gargoyle. The people who danced and partied there over the decades would have included Henri Matisse, Tallulah Bankhead, Fred Astaire and Noël Coward, he says.

It is a fantastic example of the deep vein of hedonism you sense thrumming behind the walls of many buildings in such areas as Soho, and Haslam extends this approach throughout the book as he travels across Britain, digging into the history of the likes of the Leadmill in Sheffield, the Barrowland Ballroom in Glasgow, the Cavern in Liverpool and the Free Trade Hall in Manchester, often tracing the origins of the venues back to Victorian times. It makes for a fascinating read, especially if you have ever stood in an old music venue and wondered (as I have often done) about the many previous generations whose fights, fashions, frugs and frocks have played out on the very boards you are treading.

Along the way, there are in-depth, illuminating interviews with figures as diverse as the novelist David Peace (on Goth clubs in Leeds) and James Barton, the co-founder of Cream (on the problems of running a nightclub in a city rife with gang warfare), as well as less familiar names such as Hyeonje Oh, the current owner of the Surakhan restaurant on Park Row in Bristol. Haslam explains to the amiable Mr Oh (in a wonderful scene reminiscent of that visit to Dean Street Townhouse) that, back in the mid-Eighties, the basement of his restaurant played host to the Dug Out club, where the careers of Massive Attack and Nellee Hooper began. None of this means very much to the restaurateur, until Haslam points out that Nellee Hooper has worked with Madonna. Mr Oh has heard of Madonna.

On occasion, the book slides into potted histories of the youth movements that came out of the nightclubs it is documenting. So we get a few pages on the emergence of punk rock, a few pages on the rise of acid house – nothing, frankly, that anyone with a passing interest in music or youth culture wouldn’t already know. I’m not sure we need to hear again that “one of the people energised by the Sex Pistols [at the Manchester Free Trade Hall] was Tony Wilson, who arranged for the band to premiere their ‘Anarchy in the UK’ single . . . on his Granada TV show”, except in a book aimed at the most general reader (which a book with the subtitle of this one surely is not).

Haslam is on much more interesting ground in the basement of a Korean restaurant that once throbbed to the heavy dub reggae whose influence shaped a generation of music performers and producers. Or when he describes the progress of the Coliseum in Harlesden, north-west London, from cinema in 1915, to fleapit punk rock venue in the Seventies – where, in March 1977, you could have seen the Clash (along with three other bands, and a couple of kung fu films) for £1.50 – to the Wetherspoons pub that stands on its site today. In these pages he asks you to imagine Daddy G of Massive Attack working the decks where the crates of produce are now stacked, to see Joe Strummer’s right leg pumping just inches from where office workers now sip discounted Sauvignon. In these pages, he makes the walls talk.

John Niven is the author of the novels “Kill Your Friends” (Windmill Books) and “The Sunshine Cruise Company” (William Heinemann)

Life After Dark: a History of British Nightclubs and Music Venues by Dave Haslam is published by Simon & Schuster (480pp, £20)

This article first appeared in the 05 February 2015 issue of the New Statesman, Putin's war