Post-war East London photographs in glorious colour

Article from the British Journal of Photography 

Written by Eva Clifford

East London photographs

Stifford Estate, East London 1961 © David Granick

East London in the postwar years – in an extraordinary collection of images that photographer Chris Dorley-Brown unearthed in the Tower Hamlets Local History Library & Archives

“The East End after the war was an imagined territory for me,” writes photographer Chris Dorley-Brown. Familiar with black-and-white shots of the territory by photographers such as Don McCullin, he’d only caught glimpses of it in colour in film and TV footage. “I yearned to find an equivalent mood in a collection of still images but never had.”

Never, that is, until he stumbled across David Granick’s extraordinary colour slides in the Tower Hamlets Local History Library & Archives. Born in 1912, Granick lived in Stepney until his death in 1980; he was a keen photographer and member of the East London History Society, and gave lectures on various local history themes which he illustrated with his own images.

Dorley-Brown is a talented photographer in his own right, who has been documenting East London since 1984, and immediately understood the slides’ worth. “I was beyond excited,” he says. “He was our man of the ground, he had it covered.”

Impressed, and keen to share the images, Dorley-Brown took on the task of digitising them, and has now published a selection of them as a book with Hoxton Mini Press, The East End in Colour 1960-1980. It’s the first time they have been published and, says Dorley-Brown, they have “a revelatory quality”.

“It’s like time travel, triggering a mode that we seem to associate directly with memory,” he adds. “Subtle, downbeat, full of clues embedded within the frame, you can take a walk though them and let your mind fill in the gaps. They are like windows into a mythical world.”

East London photographs

Brushfield St, East London 1970 © David Granick

Largely devoid of people, Granick’s shots pinpoint a key period in East London’s development, showing a now-vanished world of Victorian slums and the post-war construction of tower blocks. “What’s important about Granick’s photographs is that they challenge some preconceptions by giving us a wider and more topographic perspective, packed with ‘information’ about how the place looked,” says Dorley-Brown. “Plus, being in colour they are encoded with a photographic language that we associate with more modern documentary work.”

“There was a wilful non-artiness to the images, but they are expertly composed and lit,” he adds. “In that amateurish quality lies their power. They are pictures taken from a human perspective, no tricks, no ‘professionalism’.”

As Dorley-Brown points out, the East End has been through huge upheavals in the last fifty years or so. The closure of the docks in the 1960s and 70s brought pessimism and decline, but in the 1980s “big money began rolling in” and the area started to regenerate. “Now the kids of that generation are buying up the houses and the rest of us are getting priced out,” he says.

“I have always felt that East London presented a vision of past, present and future, simultaneously, a test bed for social integration,” he continues. “Not always harmonious, but always changing. It presents unique challenges for the photographer because it never stays still, constantly redefining and reordering itself.

“I have been looking for these images for twenty years; I knew they were out there somewhere, and now we have them. They are really the last look at a lost world, and I am sure that David Granick knew what he was doing in leaving that legacy.”

East London photographs

Alie St, East London 1963 © David Granick

East London photographs

Commercial Road, East London 1974 © David Granick

East London photographs

Spitalfields, East London 1973 © David Granick

Photographs of Women in the Punk and Indie Music Scene

Article from Creative Review 

Untypical Girls traces the history of women in punk and indie music, and features rare and brilliant documentary photography of bands stretching from 1977 to 1993. We talk to the book’s author, Sam Knee, about his love of this era of music and why it is important to remember the women of the scene.

Untypical Girls is a celebration of women in punk and indie, looking back over 16 years, from 1977-1993, and featuring hundreds of images of the key players in Britain and the US.

The book features famous names, from Siouxie Sioux to Ari Up, Kim Gordon to Courtney Love, as well as lesser-known bands and female indie music fans. It documents the way that the UK and US interacted via punk, and also follows author Sam Knee’s own journey through music, as a fan and regular gig-goer.

“The UK and US have constantly fed off each other musically and stylistically since punk’s first wave,” says Knee. “[The book] also follows my life’s path as I spent the 80s going to indie gigs in London, fully immersed in the scene here but always obsessed by the American underground, which led me to then relocate to San Francisco in 1990 as the whole Riot Grrrl phenomena was blowing up.”

Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Top: The Bodysnatchers, 2-Tone ska outfit, Hope and Anchor, London, 1980. Photograph by Neil Anderson; Above: Ari Up of The Slits, Edinburgh, 1979. Photograph by Graham Macindoe
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Indie record store new wave fashions, Houston, 1980. Photograph by Ben Tecumseh DeSoto
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Rachel and Gaye Bell of The Twinsets, Edinburgh, 1981. Photograph by Simon Clegg

Untypical Girls’ 16-year timeline tracks the development of the female indie scene, and comes to a close in 1993, when Knee felt the scene was fizzling out. “The vibrancy of the scenes was winding down,” says Knee of why the book ends at that point. “A lot of the groups so vital in the 80s had broken up or were fading into repetition. Riot Grrrl had peaked. Groups were selling out to majors and so on. It was a time of change. I feel like punk’s thread had constantly evolved from ’77 right through to ’93 where the last gasps were heard.”

In researching the images for the book, Knee went direct to the bands that he’d liked from the scene. “I made a list of all the girl bands I liked, or bands with female members, then set about locating unseen shots of them. I really enjoy picture researching more than anything, so for me I loved watching the book gradually fall together. Over time I accumulated over 1,000 indie girl shots, so making the final edit was the hardest thing.” The book also features interviews with some of the musicians, including Debsey Wykes of Dolly Mixture and Julie Cafritz of Pussy Galore.

Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.

Debsey Wykes of Dolly Mixture on bass, Hope and Anchor, London, 1979. Photograph by Rich Gunter
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Clare Grogan of Altered Images, London, 1981. Photograph by Neil Anderson
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Indie record store assistant, Canterbury, 1985. Photograph by Maria Harris

While Untypical Girls features some bands which had a mixed line up of men and women, Knee decided to focus just on the women, resulting in a book that demonstrates the vibrancy and importance of the female music scene. This is an area that is often woefully under-reported, at least within the mainstream music press.

“I think they did [get recognition] within the underground scenes and press but not by the mainstream music press,” says Knee, “who in their Luddite rock-ist outlook perceived girl groups as a novelty, not the serious musician workmanship that was only achieved by males. Back then the weekly music press had a huge influence on any band’s success, and often blinkered, middle-aged male journalists governed these groups’ destinies.”

Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.

Punk girls
concert / dance
HB Woodlawn program 1981
Arlington VA

DC hardcore punk style – a cool, tough, uniquely East Coast urban amalgamation of UK skinhead via US hardcore nihilisims. Washington DC, 1981. Photograph: Lloyd Wolf
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Kim Gordon of Sonic Youth at Maxwells, Hoboken, NJ, 1984. Photograph: Dave Rick
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Huggy Bear, London, 1992. Photograph by Mick Mercer

The book is a joyous reminder of the attitude and individuality of the women’s indie music movement (even though a definite ‘look’ can be discerned). Knee hopes this may inspire generations to come, even his own daughters.

“I’m a father of two young girls and feel immense worry for them as they grow up into this manufactured, conservative, dross society where everyone looks the same in branded sportswear or Topshop type chain junk, and individuality is out of vogue,” he says.

“I hope the book will be something they can look at and see that they don’t have to be like everyone else, they can wear and say whatever they like and not feel this state of oppressive uniformity which shadows the world we live in today. I’m also selfishly hoping they’ll seek out and rediscover the indie scene and take me to gigs when I’m in my 60s!”

Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.

Spreads from the book
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Photographs of Women in Punk and Indie Music Scene. Sam Knee has published a book charting the history using fan and musicians photo collections.
Book cover

Untypical Girls: Styles and Sounds of the Transatlantic Indie Revolution by Sam Knee is published by Cicada Books, priced £19.95; cicadabooks.co.uk. Sam Knee can be found on Instagram @sceneinbetween