Posts Tagged ‘death’

The Epsom Derby and the deaths of Emily Wilding Davison and Herbert ‘Diamond’ Jones

Wednesday, March 4th, 2009
Emily Davison May 1913 - a month before she died

Emily Davison May 1913 - a month before she died

No one really knows whether the Suffragette Emily Wilding Davison deliberately killed herself underneath the galloping hooves of Anmer – the Kings horse – at the 1913 Derby. Some say it was just a brave protest that went tragically wrong, after all a return train ticket was found in her handbag, along with an invitation to a suffragette event that evening.

Davison always knew that it would be a grand, even an ultimate, gesture that would get The Cause properly noticed by the public. She would have undoubtedly been pleased that out of all the thousands of suffragette protests in the early part of the twentieth century, it is her tragic protest that is still remembered today.

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The Epsom Derby has always been enjoyed as a day out by Londoners of all classes but from when it was first run in 1780 it had traditionally been a royal event and indeed King George V and Queen Mary had both come to watch the race in 1913. The middle classes generally sat in the grandstands or even on top of omnibuses which made alternative makeshift stands in the middle part of the race-track. The centre of the track had always been a free part of the course to watch the Derby so it would have been here that the many working-class Londoners came to watch the race, smoking and drinking, and enjoying a rare day away from the grimy smoky city near by. Emily Davison would have walked through this crowd when she made her way to the famous sharp bend in the course known as Tattenham Corner.

A Derby crowd in the 19th century

A Derby crowd in the 19th century

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Davison waited for the race to start behind the barriers at the corner. When the first horses started to shoot by she slipped under the rail clutching on to her furled Suffragette tricolour banner of purple, white and green. Running out on to the track she futilely tried to hold on to the bridle of the King’s horse called Anmer which would have been galloping at around 35 mph. Screaming, the woman with the suffragette colours was immediately smashed down by the horse and jockey wearing the King’s colours. The next day the Daily Mirror wrote:

The horse struck the woman with its chest, knocking her down among the flying hoofs . . . and she was desperately injured . . . Blood rushed from her mouth and nose. Anmer turned a complete somersault and fell upon his jockey, who was seriously injured.

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Aboyeur, the eventual winner of the 1913 Derby

Aboyeur, the eventual winner of the 1913 Derby

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"Home James, and don't hold the horses" - King George V and a beggar at the Derby

Anmer

Anmer at the stables

Four days after what the Daily Sketch described as; ‘History’s most wonderful Derby’, Emily Davison died of substantial internal injuries and a fractured skull. She never regained consciousness after the ‘accident’. By the side of the bed at Epsom Cottage Hospital was an unopened letter with ‘please give this to Emily’ written on the envelope. It was from her shocked and confused mother and Davison never read the words that said:

I cannot believe that you could have done such a dreadful act. Even for the Cause which I know you have given up your whole heart and soul to, and it has done so little in return for you. Now I can only hope and pray that God will mercifully restore you to life and health and that there may be a better and brighter future for you.

The jockey Herbert ‘Diamond’ Jones (so called because he had won the racing triple crown in 1900 when he rode the future King Edward VII’s ‘Diamond Jubilee’) was badly concussed and had his arm put in a sling. It was reported that he bravely shrugged off attempts to take him to the nearby hospital.

King George V wrote in his diary that “poor Herbert Jones and Anmer had been sent flying” on a “most disappointing day”. Queen Mary sent Jones a telegram wishing him well after his “sad accident caused through the abominable conduct of a brutal lunatic woman”.

If Davison had survived the collision with the King’s horse, it would have probably meant another visit to Holloway Gaol – the infamous North London women’s prison. She had already been there, amongst other prisons, six or seven times in the previous four years. The director of Public Prosecutions, even while Emily Davison was unconscious in hospital, stated that “if Miss Davison recovers it will be possible to charge her with doing an act calculated to cause grievous bodily harm”. It’s important to note that attempting suicide was illegal at the time, as it would be until 1961.

Morning Post headline 5th June 1913

Morning Post headline 5th June 1913

Herbert Jones (right) - the King's jockey

Herbert 'Diamond' Jones (right) - the King's jockey

Herbert Jones in 1910

Herbert Jones in 1910

Emily Davison was born in Blackheath in South East London in 1872. Successful at school she won a place at Holloway College to study literature although she had to leave when her widowed mother couldn’t afford the £20 term fees. After a stint of teaching she earned enough money to return to university education and eventually ‘graduated’ from St Hugh’s College Oxford, women only allowed honorary degrees at the time.

Davison joined the Women’s Social and Political Union in 1906 – the organisation ran by Emmeline Pankhurst and her two daughters Christabel and Sylvia which had broken away from the older non-militant National Union of Women’s Suffrage Societies. That same year the journalist Charles E Hands writing in the Daily Mail patronisingly called the all-female members of the new WSPU – ‘Suffragettes’. However the newly coined word was reclaimed (much in the same way I suppose as derogatory words such as ‘queer’ or ‘nigger’ were reclaimed decades later) and taken up by the WSPU to separate themselves from the ‘more constitutional’ NUWSS who were still known as Suffragists.

Emily Wilding Davison was perhaps the most militant member of the militant WSPU and from when she joined until she died she was continually in and out of prison. She threw metal balls labelled ‘bomb’ through windows, set fire to post boxes, hid in Parliament three times (notably on Census night in 1911) and continually went on hunger strike. The suffragettes who ‘hunger struck’ were initially released early so as to avoid martyrdom but soon the authorities started force feeding to, in the end, disastrous publicity.

Suffragettes at Holloway prison

Suffragettes at Holloway prison

A suffragette at Holloway prison in 1913

A suffragette at Holloway prison in 1913

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In 1912, in protest to another bout of painful force-feeding, and which may be a clue to her actual plans on the fateful Derby day of 1913, she threw herself off a balcony at Holloway prison. She was saved from her suicide attempt by the netting three floors below. She later wrote;

“I did it deliberately, and with all my power, because I felt that by nothing but the sacrifice of human life would the nation be brought to realise the horrible torture our women face. If I had succeeded I am sure that forcible feeding could not in all conscience have been resorted to again”

It seems unlikely, therefore, that Davison only a year later was only attempting to get to the other side of the course when Anmer unavoidably thundered into her at the Epsom Derby.

The WSPU cleverly used Emily Wilding’s funeral as a spectacular publicity event knowing that it would be filmed by the relatively new, but extremely popular, news-reel cameras. On Saturday 14 June 1913, to the drumming of ten brass bands, 6,000 women marched through the streets of London with huge crowds watching from the sidelines, the younger suffragettes dressed in white while their elders dressed in a more traditional black. Bricks were reported to have been thrown at the coffin and the carriages behind the first of which contained Davison’s close family including her mother and Miss Morrison – ‘Miss Davison’s intimate companion’.

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guarding Davison's coffin at Kings Cross station

guarding Davison's coffin at Kings Cross station

funeral procession at Piccadilly Circus

funeral procession at Piccadilly Circus

Mrs Yates and Mary Lee guarding Emily Davison's coffin

Mrs Yates and Mary Lee guarding Emily Davison's coffin

Herbert Jones wearing the King's colours

Herbert Jones wearing the King's colours

‘Diamond’ Jones never properly recovered after he and his horse crashed into Davison during the 1913 Derby. He lost three of his brothers in the First World War and his career started to go downhill and he retired in 1923 after a pulmonary haemorrhage.

It’s not that well known that in 1928 when the former leader of the WSPU, and perhaps the most famous of all the suffragettes, Emmeline Pankhurst died, Herbert Jones travelled to London for the funeral. The wreath that he left said

To do honour to the memory of Mrs Pankhurst and Miss Emily Davison.

On 17 July 1951, Jones was found dead in a gas-filled kitchen by his 17 year old son. The coroner subsequently recorded a verdict of ‘suicide while the balance of his mind was disturbed’. The former jockey had once said that he was ‘haunted by that woman’s face’ all his life. It wasn’t just one suicide that was connected to the fateful collision at the Epsom Derby on that humid June day in 1913.

Herbert 'Diamond' Jones

Less than a week before Emily Davison’s tragic death at the Derby, Stravinsky’s Rite of Spring was premiered in Paris at the Théâtre des Champs-Élysées. The complex and modern music caused chaos in the audience which soon degenerated into a riot. At the interval the Parisian police had to intervene. It was the slight discordant notes behind the initial bassoon solo at the beginning of the piece that set off the violence.

Incidentally, due to more pressing matters such as musical notes being slightly out of tune, France didn’t get round to allowing women to vote until 1944. It was 27 years later in 1971 when women in Switzerland were only allowed into the voting booth. While male voters had it all to themselves in Portugal until 1976.

fantastic photoshop picture from <a href=

Brilliant photoshop picture by monicenfungirl at flickr

Stravinsky – Rite of Spring

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Donald Cammell’s Performance at Powis Square

Wednesday, January 7th, 2009

“Kick-starting the day with a five-skinner and a bath with two naked girls has never seemed so domestically routine.” – Mick Brown

Donald Cammell and his former lover Anita Pallenberg on the set of Performance

Donald Cammell’s film Performance, shot in the summer of 1968, was largely set in a large house in Notting Hill’s Powis Square. This was a part of Notting Hill, featuring large run-down peeling terraces and squares that, a decade earlier, Colin MacInnes in his London novel Absolute Beginners had called ‘Napoli’. It was also, at that time, that is the mid to late fifties, the main stomping ground of the notorious and disreputable landlord Peter Rachman.

The original white working class neighbourhood was having to uneasily mix with a burgeoning West Indian immigrant community which was increasing in size not least because Rachman was willing to house West Indians – albeit at his infamous price. Powis square was where Rachman bought his first major London property – a huge Victorian building – which he had subdivided to such a degree that approximately 1200 tenants eventually lived there.

81 Powis Square in 1968  (number 25 in the film)

25 Powis Square in 1968 (number 81 in the film)

The same property today

The slightly more salubrious-looking property today

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Notting Hill in the mid-fifties

By 1968 the down-at-heel ambience of the area had also attracted a further wave of inhabitants – hippies, who hung around the Portobello Road market and the nearby ‘head’ shops. In other words it was the perfect bohemian part of London in which Performance’s fictitious rock star Turner lived. Turner, of course, was played by Mick Jagger and the film, along with Nicholas Roeg, was directed by the rather dissolute and louche friend of the Rolling Stones Donald Cammell.

Jagger and Cammell 1968

Jagger and Cammell 1968

Cammell was born on 17th January 1934 in the Outlook Tower by the side of Edinburgh Castle to rather bohemian parents – his father, after losing the family fortune in the thirties (his family was part of the Cammell-Laird shipbuilding firm), was an editor of Art magazines. They must have encouraged the artistic side of his nature because by the age of 8 he was exhibiting at the Royal Drawing Society and won a scholarship to the Royal Academy at the age of 16. Good looking, gifted and self-assured, Cammell became a sought after society portrait painter before he was 20. He owned a studio in Chelsea’s Flood Street and was already enjoying a hectic party-lifestyle which in effect continued for two or three more decades.

Cammell painting Bronwen Pugh in 1957

Cammell painting Bronwen Pugh in 1957

In 1954 he had married the Greek actress Maria Andipa and in 1959 they had a son Amadis. A few months previously he and Maria had moved from Chelsea to Hampstead, apparently to be close to the actress Jill Ireland who was living there at the time and with whom Cammell was having an affair. One day soon after the move Maria returned from the doctor with what she thought was happy news that she was having a baby. Cammell completely crushed Maria by saying “I love you, and want to share my life with you, but I don’t want to share it with a child.” True to his word he left almost immediately for New York and cruelly would only see his son twice during the rest of his life.

Cammell's first wife Maria Andipa and son Amadis

Cammell’s first wife Maria Andipa and son Amadis

It was in New York where Cammell met and lived with the model Deborah Dixon – he was to be with her for ten years and their relationship finished just before the filming of Performance, although she was a costume designer on the film. He had by now rejected painting society portraits and was now concentrating on work that had a Balthusian lolita-inspired influence (ie lots of young naked girls). While this helped him sate his notable sexual appetite (for much of his life he was irresistible to a good deal of the female sex and Dixon was seemingly happy with this and often shared his conquests) his artistic desires, at least in the form of painting, were waning.

Donald Cammell and his beautiful wife - the model Deborah Dixon

Donald Cammell and his beautiful wife – the model Deborah Dixon

Deborah Dixon 1964

Deborah Dixon 1964

Deborah Dixon 1962

Deborah Dixon 1962

He moved to Paris with Deborah where she continued to model and where he began to try his hand at writing screenplays. She was now a very successful international model and essentially Cammell lived off her money for some years. During this time he collaborated on a script which was eventually made into a bad thriller called The Touchables and subsequently another script which was turned into a very sixties caper movie in 1968 called Duffy (originally called Avec Avec) which starred Susannah York, James Fox and James Coburn. Although Duffy was a better film than The Touchables it was still very flawed and again unsuccessful at the box office and this encouraged Cammell to try and direct the next film himself.

Susannah York during the filming of Duffy

Susannah York during the filming of Duffy

On the poster it said "they try anything" - Monika Ringwald, Esther Anderson, Judy Huxtable and Kathy Simmonds

Monika Ringwald, Esther Anderson, Judy Huxtable and Kathy Simmonds – on the film poster it said ‘they try anything’.

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Fox and Cammell on set at Lowndes Square, Knightsbridge where the interiors of the film were shot.

Filming started on Performance in July 1968, a few weeks after the death of Cammell’s father, and the production was later called by Marianne Faithful a ‘psycho-sexual lab’ and ‘a seething cauldron of diabolical ingredients: drugs, incestuous sexual relationships, role reversals, art and life all whipped together into a bitch’s brew’.

The old Harrovian and ex-Coldstream Guard officer James Fox was chosen to play Chas – a professional criminal on the run from his gangland boss Harry Flowers. Fox had recently grown his hair and become a bit of a hippy and had also become a close friend of Mick Jagger’s (for a short while Fox, Jagger, Faithfull and Fox’s partner Andee Cohen were essentially living a menage a quatre and Cammell later even hinted that Fox and Jagger had been lovers). Looking for a hiding place Chas finds himself at the dilapidated Powis Square house of the fading rock star Turner (played by Jagger). Chas announces soon after his arrival – “What a freak show! Druggies, beatniks, free love… a right piss-hole.” Living in the house with Turner were his two girlfriends Pherber, played by Anita Pallenberg then Keith Richards’ girlfriend, and Lucy, played by the 16 year old French waif Michele Breton.

After some sexually-ambiguous explorations with Turner, Pherber and Lucy in addition to a particularly huge mushroom trip Fox/Chas starts to feel more comfortable with staying at the rambling Powis Square house eventually undergoing a personality change and a metamorphis into the Jagger/Turner character. At the beginning of the film Chas says ‘I know who I am!’ by the end of the movie it’s certain that he doesn’t.

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Cammell managed within the film, and to the chagrin of Pallenberg who realised what he was doing, to recreate a menage a trois that had existed between himself, Deborah Dixon and Michele Breton the preceding year. The trio were often seen together in Paris in 1967 but Cammell and Dixon had initially met Breton on the beach in St Tropez in 1966 when she must have been 14 or just 15. Sandy Lieberson, the producer of Performance, described Breton as ‘someone who didn’t care who she slept with. A strange little creature, totally androgynous-looking – the way Donald liked them.’ ‘Everybody was sleeping with everybody’, Breton later remembered, ‘it was those times’.

Indeed the production became infamous for its sex on and off the camera – one person working on the production described it as ‘the most sexually charged film ever. Everyone was fucking everyone. And Donald was a class-A voyeur.’ To confuse everything Pallenberg had also been a former lover of Cammell’s and during the filming of Performance she admitted that she, Jagger and Breton had actually consummated the threesome sex scene in the film. The more graphic footage of which found its way to an erotic film festival in Amsterdam a few years later apparently winning a prize. Keith Richards who never appeared on set but through mutual acquaintances knew something was going on between his girlfriend and his best friend and was often seen during the production fuming in his Rolls-Royce outside or the in the pub down the road. Overlooking all this one imagines a joyous Donald Cammell rubbing his hands in glee.

Michele Breton and Mick Jagger

Michele Breton and Mick Jagger

Pallenberg and Jagger

Pallenberg and Jagger

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Jagger, Breton and Pallenberg

Frames from footage shot by Anita

Frames from footage shot by Anita and which appeared in the magazine OZ

Cammell was not particularly partial to drugs, although he smoked hash occasionally and had tried the odd LSD trip, but perhaps Performance was the first film that portrayed drug-taking that was also made by people who took drugs as a normal lifestyle choice. The drug-taking that went on during the filming of Performance was legendary. The art director John Clark said ‘you took one breath and you were stoned’ and a crew member on the production said ‘you want to get a fucking joint, they’re coming out of your earholes. You want a cup of tea, you’ve got no fuckin’ chance!’

Cocaine, yet to be the rock star’s drug of choice, wasn’t mentioned within the film but the characters all smoked hashish, took mushrooms (when Chas first arrives at Powis Square there is a shot of the mushrooms growing in a tray by the front door along with a couple of mars bars wittily referring to the Redlands’ drug bust the year before) and we also see heroin being injected, as a ‘vitamin shot’, by Anita Pallenberg.

Anita and Mick on set

Anita and Mick on set

Turner tells Chas at one point in the film “The only performance that makes it… that makes it all the way, is the one that achieves madness.” And the drugs and the psychotic atmosphere on the set seemingly took its toll on the main performers. A year after the completion of filming James Fox, while performing in Doctor in the House in Blackpool was persuaded to join a religious movement called the Navigators and left acting for ten years to become a Christian evangelist.

Anita Pallenberg started taking heroin seriously during the filming and subsequently became heavily addicted to the drug. She said ‘I think Performance was the end of the beautiful sixties – love and all that. That film marked the end for me.’ She continued to be a heavy user of heroin for ten years and eventually split from Richards at the end of the seventies.

Not a lot was known about Michele Breton especially after the film had finished. Cammell later said that she had smoked too much hash and was frequently under the influence of psychedelics. Breton herself said in 1995 ‘I was taking everything that was going. I was in a very bad shape, all fucked up.’ Soon after the completion of the movie Cammell eventually drove her to Paris letting her stay at his flat for a couple of days he then told her that he didn’t want to see her again.

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Mick Jagger, perhaps alone amongst the main protagonists, came out of the experience mentally intact. According to Marianne Faithful, who helped him gain enough courage to act in the film, ‘Mick came out of it splendidly…he didn’t have a drug problem and he didn’t have a nervous breakdown.’ It could be said that the Turner became the character that Jagger used to present himself to the world – androgynous, decadent and sinister.

Donald Cammell’s subsequent directing career after Performance never really took off. The major film studios avoided him from the first screening of the film which couldn’t have gone more badly. One Warner studio executive wife literally vomited on her husband’s shoes while another executive after watching the film said ‘Even the bathwater’s dirty.’ The film was only released, almost two years after its completion, in 1970.

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Joan Chen and Anne Heche in Wild Side

Joan Chen and Anne Heche in Wild Side

Cammell completed just three films in the next 25 years, Demon Seed with Julie Christie in 1975, White of the Eye in 1987 and Wild Side in 1995. The studio behind his last film refused to release Cammell’s version and released an exploitative cut to Cable TV.

A year later Cammell, after a life time suffering from bouts of depression, committed suicide by shooting himself in the head. The myth is that Cammell aimed his bullet in such a way that he would be able to experience for several minutes what it was like to die. However according to the coroner he died pretty well instantly.

Keith Richards, who never forgave Cammell for letting Pallenberg and Jagger fuck on camera, once said of Performance ‘The best work Cammell ever did, except for shooting himself’.

Mick Jagger – Memo From Turner

DVD of Performance can be bought here and the soundtrack of the film from here.

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