Uncertain.

 

Over the past few weeks, the level of policing in Bexleyheath Broadway seems to have increased. The patrols, which are primarily to control the large numbers of school children who frequent the Broadway before and after classes, used to consist of two PCSO's, but it has been noted that this has now been increased. When I visited Bexleyheath last Wednesday, I counted five uniformed full Police officers and two PCSO's near to the clock tower. I understand that this is because there has been an increase in the level of anti social behaviour and violence between pupils. I have also heard from a couple of readers that they will not visit Bexleyheath after 3pm, due to the poor behaviour of a small minority of school children. I personally witnessed a fight between four schoolboys further down the Broadway, outside of a chicken and chips shop. I am aware that local schools have been working with the Police to try and address these issues. I must emphasise that a majority of the school children are well behaved, if somewhat boisterous, but a small number are causing serious concerns. Comments to me at the usual address - hugh.neal@gmail.com.

A popular bar / restaurant in Bexleyheath is facing an uncertain future. The Brewers Fayre at 51 Albion Road may be the subject of closure. Whitbread announced last week it is to axe about 1,500 jobs across the UK amid plans to slash its chain of branded restaurants by more than 200 in favour of building more hotel rooms. The group, which also owns Brewers Fayre sites, said the job cuts are still subject to consultation and come from its total UK workforce of 37,000 employees. It said the move is part of a plan to “optimise” its food and drink offering to add more than 3,500 hotel rooms across its estate and increase “operational efficiencies”. Whitbread said it plans to sell 126 of its branded restaurants, with 21 sales already having gone through. It will also convert 112 less profitable eateries into new hotel rooms. Whitbread have not yet announced if the Bexleyheath Brewers Fayre will remain in business. 

I have written at some length in the past in respect of musicians with local connections - for example Mick Jagger and Keith Richards from Dartford, Kate Bush from Welling and John Paul Jones from Sidcup. One person I have neglected to mention until now is Jools Holland OBE, who has lived in and had connections locally for all of his life; indeed he has a house and recording studio called Helicon Mountain, located at 2, Station Mews, Westcombe Park, right next to Westcombe Park railway station; indeed his property looks like a Victorian station building. Holland’s studio is much more than ‘just’ a studio. Originally a large yard with stables, it’s been converted into a network of cobbled streets, architectural follies, working buildings and a (non-working) railway station, all inspired by Portmeirion, the eccentric Italianate North Wales village where 1960's TV drama The Prisoner was filmed. From his beginnings as a keyboardist in the successful band Squeeze to his legendary stint on Later... with Jools Holland, Holland's career has been a celebration of all things musical. Born Julian Miles Holland in Lewisham in 1958, music found Jools early. By eight, he could play piano by ear, and by his teens, he was a fixture in London's pub scene. He went to school on Shooter's Hill, but was expelled age 15 after refusing to cut his then long hair. This talent led him to Squeeze, a band that achieved critical and commercial success in the 70s and 80s.  His keyboard work on hits like "Tempted" and "Up the Junction" cemented his place in the British music landscape. Although Squeeze sold millions of records, the most successful record Jools ever played on was Good Thing by The Fine Young Cannibals, which reached Number One in seventeen countries. Jools was paid the statutory session fee of £150. Holland's ambitions extended beyond the band.  The early 80s saw him enter the world of television, co-presenting the influential music show The Tube, helping to launch the careers of bands like Duran Duran and The Smiths. This experience honed his presentation skills and prepared him for his most iconic role: host of Later... with Jools Holland. The flagship BBC Two music show was launched in 1992 and, 32 years later, it is still going strong."Later..." has become a British institution. The show features intimate studio performances by a diverse range of artists, from legendary figures like Sting and Eric Clapton to up-and-coming talents. Holland's infectious enthusiasm and the show's stripped-down setting create a unique platform for musicians to showcase their craft. The annual "Later... Hootenanny" on New Year's Eve is a national tradition, bringing together a star-studded lineup for a celebratory musical send-off to the year.  In an interview with Saga Magazine, he said:- "How old was I when I started on Later?’ he wonders. ‘About 35. At that point, I’d been in a band, toured the world, had a great job on telly. I’d lived a full life and was pretty sure it was all downhill from there. But Later… changed everything. It just goes to show. Doesn’t matter what’s happened in the past, you should never give up. Keep going, because you don’t know what’s around the corner." Holland's influence extends beyond television. He's a prolific collaborator, having worked with an impressive roster of artists, including David Gilmour, Bono, and Ruby Turner. He also leads his own Rhythm & Blues Orchestra, known for their polished performances and dedication to the genre. Beyond music, Holland is a man of varied interests.  He is a published author, a model railway enthusiast, and even appeared on the cover of Railway Modeller magazine! This eclecticism reflects in his approach to music, where boundaries are meant to be explored and genres celebrated.

Some months ago, I had a meeting with the organisers of the forthcoming Bexley Beer Festival; they were aware of my small historic involvement with Radio Caroline, and they asked me to write a very concise history of the radio station, that could be used as an article in the beer festival's programme. You can read the article here:- In 1964, British radio was a tightly controlled landscape dominated by the BBC, which played very little popular music. Enter Radio Caroline, a renegade station that defied the status quo by broadcasting pop music from a ship anchored in international waters, outside of British government jurisdiction. Its history, spanning over six decades, is a tale of rebellion, resilience, and the enduring power of music. Founded by Irish businessman Ronan O'Rahilly, Radio Caroline aimed to circumvent the BBC's monopoly and limited music selection. Launched on Easter Sunday 1964, the station, broadcasting from a ship named "MV Fredericia," offered a revolutionary format: nonstop pop presented by young, energetic DJs. Personalities like Tony Blackburn, the station's youngest DJ at 21, captivated audiences with a sound unlike anything heard before. Radio Caroline's success sparked a "pirate radio" boom. Stations like Radio London emerged, further challenging the BBC's dominance. The British government, however, saw these stations as a threat. In 1967, the Marine and Broadcasting (Offences) Act was passed, making it illegal for British subjects to be involved with pirate radio. Other offshore stations such as Radio London closed down as a result of the changes in the law, but Caroline continued as a proscribed organisation. During the 1970’s Radio Caroline continued to broadcast from the radio ship “Mi Amigo” - and changed their format to become Europe's first album station - a period which is considered by many to be their finest to date. In 1980, the old, rusty and very tired Mi Amigo sank in a violent North Sea storm, and many thought this was the end of the station. However Radio Caroline returned to the airwaves in 1983 with a new, larger and far more robust radio ship, the M.V Ross Revenge - a converted ice breaking trawler, which the station still owns and operates to this day. For several years, the 300’ antenna mast on the Ross Revenge was the tallest marine structure in the world. This unfortunately collapsed several weeks after the 1987 hurricane, when it had been weakened. It was replaced with two smaller antenna towers. In the summer of 1989, the Ross Revenge was raided by armed officials from the Dutch telecoms authority the PTT, and members of the British DTI, they stripped the ship of broadcasting equipment - an action which was later found to be in contravention of international maritime law. Caroline volunteers re - equipped the studios and transmitters and resumed broadcasting. The Ross Revenge broke its anchor chain in the winter of 1990, and the ship was only the second vessel in history to be successfully salvaged from the notorious Goodwin Sands. The Ross Revenge was subsequently moored in Dover Harbour whilst repairs were carried out. The Caroline organisation applied for and was granted a number of low power “Special Event” broadcasting licences around the UK. A campaign to get Radio Caroline a permanent broadcasting licence was started, and in May 2017 Radio Caroline was granted a permanent broadcast licence on 648 kHz Medium Wave. The station also broadcasts on DAB around the UK, and is available streaming via mobile phones, smart speakers and computers around the world in digital stereo. Radio Caroline's story is far from over. It remains a volunteer-run organisation fueled by the passion of its listeners and DJs. As long as there's a desire for alternative voices on the airwaves, Radio Caroline, the station that rocked the waves, will continue to defy the odds and keep the spirit of pirate radio alive.

The Maggot Sandwich has now been online since July 2006; I have published the Blog every Sunday for nearly the last nearly eighteen years without a single miss in all of that time. If you click on the drop down menu produced by the “Blog Archive” button to the lower right of this text, you will see a whole list of previous postings. There are a total of 999 individual blog updates; an average of one per week - the more observant among you will notice that next week will mark my thousandth Blog update. I have been going through some of these old articles and have noticed that there are some missing images and broken links. Bearing in mind the age of the articles in question, it is not surprising there is a degree of “link rot”. Images I have embedded from links to other web sites, and links to articles posted online are now sometimes broken, or actually lead somewhere completely different to what I intended. The Blogger platform is not really equipped to monitor and prevent link rot, unlike Word Press, which is designed to always use canonical URL’s. Apologies if you surf around the history of the Maggot Sandwich and discover a faulty posting. To be honest it is now such a huge body of text that it has become practically unfeasible for me to police the content and stop things breaking.

Information has been circulating that the effects of the permanent closure of the Tilbury to Gravesend ferry at the end of March has caused far more economic and social damage than had been anticipated by the authorities, and consequently efforts are now being made to restore the important, historic cross Thames ferry service. The closure stems from the inability of the previous operator, Jetstream Tours, to reach a long-term funding agreement with Kent and Thurrock Councils. While both councils are exploring options for a replacement service, there is no clear timeline for its return. This news comes as a blow to the roughly 100,000 passengers who relied on the ferry annually. With the service suspended, journeys between the two towns now require a detour via the Dartford Crossing, adding significant time and potentially cost. Local authorities are currently investigating alternative solutions, including finding a new ferry operator or potentially even implementing a different form of public transport across the Thames. While the future of the Tilbury to Gravesend ferry remains uncertain, one thing is clear: its absence leaves a gap in cross-river travel and disrupts the commutes of many. One month on from the closure of the Tilbury Ferry from Essex to Gravesend traders say they are struggling with reduced footfall and hope the ferry could return within the next year. In an article posted on Kent Online, Leader of Gravesham council Councillor John Burden said he was keen to get the ferry re-instated and hopes to have news on the progress by the end of the year. He said: “We want the ferry back and we are trying to find the funding to make that happen. The sooner we bring it back the better. By the end of this year we should have some positive news about how we should be moving forward.”

The historic photo above shows a green 401 double decker bus in Nuxley Road, Upper Belvedere. The shot would appear to have been taken in the 1970's. If any transport enthusiast can supply more detail, I would be extremely grateful. Contact me at the usual address - hugh.neal@gmail.com. 

To mark World Penguin Day on April 25, Nicola Martin, manager at Heathfield Court Care Home, organised for two Humboldt penguins to visit the home on Colyers Lane, Northumberland Heath. The penguins, from Heythrop Zoological Gardens in Oxfordshire, were accompanied by zookeeper Barbara Howes. Penguins Pringle and Widget explored the care home, even visiting some of the less mobile residents in their rooms.  You can read the full story with photographs by clicking here. Loneliness is a significant concern for many care home residents. Pet therapy provides a comforting and familiar form of companionship.  Stroking a gentle dog, watching a playful cat, or simply listening to the chirp of a bird can all evoke positive emotions and combat feelings of isolation. The impact of pet therapy goes beyond emotional well-being. Studies suggest interacting with animals can Reduce Stress and Anxiety: The unconditional love and calming presence of a pet can lower blood pressure and heart rate, promoting relaxation and reducing stress and anxiety. Boost Social Interaction: Pets can be a bridge between residents, sparking conversations and shared experiences. This fosters social interaction and a sense of community within the care home. Improve Cognitive Function: Caring for a pet provides mental stimulation. Talking to the animal, recalling memories of past companions, and simply observing their behaviour can all help keep minds sharp. For those with dementia, pets can offer a calming presence and reduce agitation. Enhance Physical Activity: Engaging with a pet, especially a dog, can encourage gentle exercise like petting or walking alongside them. This promotes mobility and coordination, which is important for maintaining physical health. Organisations like Pets As Therapy (PAT) ensure responsible implementation of pet therapy programmes.  Animals undergo temperament assessments and training to guarantee a safe and positive experience for residents.  Care home staff also play a crucial role, carefully matching residents with suitable animals based on individual needs and preferences. While dogs are often the stars of pet therapy, other animals can be just as beneficial.  Fish tanks provide a mesmerising and calming focus, while small animals like rabbits or guinea pigs can be gentle and cuddly. The key is finding the right fit for each resident. Pet therapy offers a wealth of benefits for elderly residents in UK care homes.  By providing companionship, reducing stress, and promoting social interaction and physical activity, these programmes contribute significantly to a happier and healthier environment.

Britain is in the throes of economic hardship, social unrest simmers, and a new kind of television hero takes to the screen. Enter Detective Inspector Jack Regan, the brash, uncompromising star of hard-hitting police drama The Sweeney, whose pilot episode aired in May 1974. This year marks the 50th anniversary of The Sweeney's debut on ITV. The series, which ran for four seasons until 1978, followed Regan (played by the late John Thaw) and his partner, Detective Sergeant George Carter (played by the late Dennis Waterman), as they tackled violent crime on the streets of London. The programme's title comes from the real-world Cockney rhyming slang nickname "Sweeney Todd" used to refer to the Flying Squad by London's criminal fraternity in the mid 20th century. The Sweeney broke the mould of traditional police procedurals. It was raw, realistic, and often shockingly violent. Regan, with his fists as handy as his warrant card, became an iconic character – a flawed anti-hero battling ruthless criminals in a world seemingly on the brink. It captured the atmosphere of 1970s London – the working-class estates, the smoky pubs, the omnipresent Ford Cortinas. It wasn't afraid to delve into social issues, from gang violence to police corruption. Most TV police dramas had shied away from showing officers as fallible. The series shows a somewhat more realistic side of police life, depicting them as flawed human beings, some with a disregard for authority, rules and the "system". Police officers in The Sweeney are ready and willing to meet violence with violence when dealing with London's hardened criminals and are prone to cut corners and bend the law in pursuit of their prey, as long as it gets the right result. The Sweeney wasn't just about violence and car chases (though there were plenty of those). It offered a nuanced look at the lives of police officers on the front line. Regan, the gruff and instinctive leader, and Carter, his younger, more level-headed partner, were a compelling duo. Their contrasting personalities fueled the drama, showcasing the complexities of police work. The Sweeney was shot on 16 mm film, allowing producers to use smaller, agile camera crews. This made it possible to shoot almost entirely on location for exteriors and interiors, helping to give the series a startling degree of realism and elevating London as a character of its own. Using film also allowed directors to feature many more action sequences. What they and the crews delivered is a fast-paced series, depicting the squad's relentless battle against armed robbery; but it also includes a substantial degree of humour. For the period it has a high degree of on-screen violence, and it is not unknown for several deaths to occur in an episode. Each episode had a budget of £40,000 with an eight-and-a-half-week production schedule: two weeks' pre-production (for casting, finding locations etc.), two weeks' shooting, four weeks' picture editing (the first two weeks of which overlapped with the shoot), two weeks' sound editing and two-and-a-half days' dubbing. The filming of each episode normally took 10 working days, shooting about five minutes of edited screen time per day. Due to this, the number of different filming locations had to be restricted to 10, i.e. one location per day. At the Euston Films production office in Colet Court, Hammersmith, a standing set of the Flying Squad offices was constructed which provided an alternative option for when inclement weather restricted the day's shooting. Two days would normally be spent filming on the set, equalling 10 minutes of any episode being set in the offices. Shooting took place through the spring, summer, autumn and winter months; exterior night shooting was expensive, and was limited to three minutes of external night material in any episode. The Sweeney's influence on British television is undeniable. It paved the way for a more gritty and realistic style of drama that continues to this day. The show also spawned two successful spin-off films and a rather poor 2012 big-screen reboot. But it's the original series that remains a fan favourite. The iconic theme tune, the sharp dialogue, the unforgettable characters – The Sweeney still resonates with audiences today.

The end video this week features rare, historic colour footage of the steam powered Woolwich Ferry from back in 1961. Steam-powered ferries across the Thames from Woolwich first operated in 1889.  A similar paddle-wheel type was used for their replacements in the late 1920s – early 1930s. These, still operated by the London County Council are those seen in this film. Comments and feedback as always to me at hugh.neal@gmail.com.