In 1964-64 Watney Mann and its subsidiaries were on a spree of pub building in towns, New Towns and on housing estates up and down the country.
Here are photographs of and notes on those new pubs from editions of the brewery’s in-house magazine, The Red Barrel, published in 1964. Where possible we’ve credited architects and builders. Unfortunately no photography credits are provided in the magazines.
The Kingfisher, Corby, Northamptonshire
This pub on the Lodge Park estate was opened in December 1963 by E.C.M. Palmer, the chairman of Phipps, the Northampton brewer Watney’s took over in 1960. It was designed by Phipps’s in-house architects and built by Simcock and Usher Limited of Northampton. The managers were Norman Houghton and his apparently nameless wife.
A feature of the spacious public bar is the woodwork. The seating, the counter front and the ceiling are of fine quality pinewood, and a Granwood floor blend with the general appearance of the room… [It] has that essential amenity, a car park, with space for about fifty cars.
This riverside pub was designed by architects Stewart, Hendry & Smith and built by Siggs & Chapman of Croydon. It replaced an older riverside pub.
A full length continuous window in the ‘Riverside Bar’ overlooks the Thames, and the nautical atmosphere is accentuated by the curved boarded ceiling reminiscent of a ship’s deckhead, and by a ship’s rail for a footrail, while ship’s lanterns and porthole-style windows provide light.
Still there? No, sadly not — it was apparently demolished before 1987 (didn’t even make 25 years) and was replaced with a block of flats that cheekily borrowed the pub name.
The second was published today at Municipal Dreams, one of our favourite blogs, and includes some quotations we didn’t get to use in the book, such as this by Geoffrey Moorhouse from 1964:
At the moment, whereas Shotton has five pubs, five working men’s clubs, and a cinema, Peterlee hasn’t even got a cinema. The ones who do come, so they say in Peterlee, very often stay for only a year or two, until a cottage becomes available in their old village, and then they’re back off to it with without any apparent regrets of the exchange of a modern semi for a period piece straight out of the industrial revolution.
We can’t say any of this — all the research, thousands of words — has got the obsession with this type of pub out of our system. If anything, it’s intensified it. No doubt there’ll be more on the subject here from time to time.
The choice of name in this new House, built by the Bristol Brewery Georges & Co. Ltd., is of interest as it was chosen in an attempt to establish some sort of cultural connexion in an otherwise rather featureless housing estate.
Many of the roads in the neighbourhood bear the names of great English writers and it is intended that “The Blue Boy” should be a central pivot of this motive. Above the door to the large bar is a pleasing and colourful wall plaque. Elliptical in shape it is in fact a hand-painted reproduction on glazed frost-proof tiles of Gainsborough’s painting of the Master Buttall better as “The Blue Boy”. It is framed in painted hardboard that accentuates it and effectively separates it from the surrounding brickwork.
Pubs built in the period after World War II have, on the whole, had short, rather sad lives, but there are two still trading (for now) at Elephant and Castle in South London. What can they tell us about the fate of the post-war urban booze bunker?
Elephant (as we’ll call it from here on) was a furious cauldron of development in the 1960s. What remained of the old district after the Blitz was levelled and a new traffic hub for south London was created. Office blocks were built to house government staff, like the Ministry of Health building, Alexander Fleming House, designed by the famous Hungarian-British architect Ernő Goldfinger. Most importantly an enormous modern shopping centre was built, ‘a giant new type of building, a fully enclosed American style mall over three levels surmounted by an office block’.
It was amid all this excitement that Watney’s and Truman’s breweries built flagship pubs there, the Charlie Chaplin and Elephant & Castle respectively. In August, we decided to visit both.
In the image above from Watney Mann’s Red Barrel magazine for June 1965 the site of the Charlie Chaplin, on the central island and appended to the shopping centre itself, is marked with an orange arrow. This is how it looked on launch:
A major feature of the house… is a wrought-iron mural of Charlie Chaplin. Designed by G. Dereford of Marlow Mosaics and made from metal springs to epitomise the spirit of the film Modern Times, the sculpture runs the full height of the first and ground floors… The Charlie Chaplin was designed by Erdi & Rabson, built by Sinclair & Son (London) Ltd and is let to the Westminster Wine Co whose manager will be Mr H.W. Moles.
It seems reasonable to conclude that Watney’s aspired for it to be an upmarket pub for shoppers, cinemagoers and office workers rather than as an ‘estate pub’. But the shops and shoppers never came to Elephant — it was a famous failure in commercial terms — and when a huge housing estate, Heygate, opened right next door in the early 1970s, the Charlie Chaplin seems to have ended up serving it by default.
In 2017, with the threat of closure and demolition hanging over the ‘mall’, as it has been for several years, and in the aftermath of a stabbing incident, the Charlie Chaplin feels a bit bleak. At some point it contracted to a single large room on the ground floor and received a half-hearted faux-Victorian makeover, leaving it neither thrillingly modern nor genuinely cosy. Given the tendency to connect the fate of pubs with that of the white working class it was interesting to see that the regulars were roughly fifty-fifty black and white, mostly solo drinkers, and entirely male. At one point a young woman in office clothes came in and took a seat by the window. As she talked on her mobile phone the woman behind the bar came over and asked her brusquely if she intended to buy a drink or not. The young women told the person on the phone, pointedly, that they should meet in a different pub instead, and left. We weren’t made to feel unwelcome in any overt, specific way but it did feel as if we’d intruded upon a private party, or perhaps a wake. It was literally and spiritually gloomy.
[The designer] must have had shares in a mirror company, as soon as you walked in the door there were mirrors everywhere, on the walls, toilet doors, behind the bar, and also some on the ceiling. The only place there weren’t any mirrors was on the floor. No matter where you stood in the pub, as you raised your glass to your mouth, your reflection was everywhere you looked. I must say I didn’t like this pub; it was too open for me and felt cold.
These days, after becoming very rough and eventually escaping conversion into an estate agents, it is run by London pub company Antic, AKA ‘hipster Wetherspoons’. They have given it a retro brutalist makeover, all functional mid-century furniture and exposed structural concrete, which is somewhat in keeping with the period in which it was built, and interesting to gawp at, but also completely inauthentic. It too felt oddly gloomy — that’s bunkers for you, we guess. Although the wide range of cask and keg beer on offer looked enticing the former was in lacklustre condition and expensive, too. (We preferred the Guinness at the Charlie Chaplin.) The pub was at least buzzing, though, and if we felt out of place it was only because we had at least a decade in age on most of the clientele.
This post was edited to remove a reference to the subway system which was apparently closed recently. We used to use it a lot when we regularly commuted through Elephant and must have got temporally confused. Also, we had consumed beer.
Here’s everything on the subject of beer and pubs that’s grabbed our attention in the last seven days from crowdfunding to flat-roofed pubs.
First, with his industry analyst hat on, Martyn Cornell has given some thought to the question of crowd-funding in British brewing, asking bluntly: ‘Is that money down the drain?’
A total of £50m has been raised in the UK over the past four years in crowdfunding efforts by more than 40 different craft breweries, and half a dozen craft beer retail operators who have tapped tens of thousands of – overwhelmingly male – investors… But how many of those investors will ever see a decent return on their money, other than the warm glow of owning a small slice of the maker of their favourite beers? With three quarters – 18 out of 25 – of the companies involved for which financial records have been published reporting losses for their last financial year, the answer is likely to be: “Not many, and even then, not for quite a while”.
I don’t want some bloody pilsner in champagne bottle that looks like a bottle of bubble bath that you got from your great aunt for Christmas. I don’t want “a representation of a woman’s strength and a girl’s tenderness”, I want a pint. A girl shouldn’t be fucking drinking beer anyway, give her a J20 and introduce her to a nice porter on her 18th birthday.
Restaurant critic Marina O’Loughlin is one of the headline acts for the launch of Eater London (of mince on toast fame) and she has confession to make: ‘I don’t like pubs.’
I don’t like beer. I particularly don’t like warm beer. It was a suffocatingly hot day, and the idea of lurking inside a dark, whiffy-carpeted room — or worse still, outside on grimy, fume-clogged London pavement with the smoking fraternity, zero by way of shady umbrellas, on cheap metal furniture searing scorch marks onto my thighs — did not appeal. They don’t do decent wines (well, hello, mass-produced pinot grigio) or cocktails properly. Even an acceptable gin and tonic (quality ingredients, big glass, generous wedge of lemon or lime, plenty of good ice — yes, there’s bad ice out there) seems beyond most of them. And don’t speak to me about the food: the miasma of elderly fish ‘n’ chips that seeps out of that carpet, the pies, the bloody roast dinners.
It’s a reminder (like Victoria Coren’s similar piece from earlier this year) that the pub isn’t beyond criticism, or universally appealing, and, as O’Loughlin concludes, that’s fine.
In his blog Manchester Estate Pubs, [Stephen] Marland photographs pubs just like the Gamecock. He thinks pubs “are almost a barometer of community and how a community is doing. If a pub’s doing well, then the community’s doing well.”… He feels the demise of estate pubs is due to factors including changes in patterns of leisure activity, the rise of supermarkets as a source of cheap alcohol, and the increasing real estate value of their sites – it’s more economically viable to build apartments on a pub site than to keep it going as a business, or even a community resource. He believes councils in Greater Manchester are buying up pub sites for future redevelopment, leaving “whole deserts of publessness” in certain neighbourhoods.
It’s hard to believe, given the relative ease with which we can enjoy 8-10%+ DIPAs and Imperial Stouts these days, but there was a time, specifically the time when I started drinking, when almost all beer was in the 3.7-4.6% ABV range… And that’s one of the reasons Gibbs Mew… stood out among the regional breweries of their day. Their flagship beer, Bishop’s Tipple, weighed in at 6.5%. And that, in them days, was a fairly big deal.
I honestly don’t know why anyone thought beery perfection like Torpedo needed tweaked but here we are… Sierra Nevada would be better sticking to humulus lupulus as the centre of their pale ales. Nobody will remember these beers when the fruit IPA craze has come to a merciful conclusion.
And finally, some odd bits of news, for the record as much as anything: