National Museums Liverpool Blog - Friday, March 20, 2009

Big Art volunteer Sarah (left) receiving her v50 Award certificate from NML's youth volunteer officer, Claire Olson (right)

At National Museums Liverpool we have a dedicated youth volunteering programme aimed specifically at 16-25 year olds, funded by v, the youth volunteering charity. Young people can get involved with all kinds of interesting and fun volunteer projects and if they complete 50 hours of volunteer work they are awarded a v50 Award certificate.

Our latest volunteer to achieve their v50 is Sarah. Both the Learning team at the Walker Art Gallery and the Volunteers team would like to congratulate Sarah on her achievement and hard work within the gallery – well done Sarah!

If you are aged 16-25 and would like to find out more about youth volunteering at National Museums Liverpool, please email our youth volunteer officer Claire Olson.

Here’s what Sarah has to say about her time volunteering:

"Hello I’m Sarah and I’m 24. I volunteer in Big Art for Little Artists at the Walker Art Gallery and I have just completed my v50 Award.

I love volunteering in Big Art, as you meet and get the chance to talk to many young children and each day is different. I enjoy helping the children to use the wide range of interactive and practical resources. I especially like assisting them with the craft activities, such as making magic maize pictures, finger puppets etc.

As well as logging my hours for when I volunteer in Big Art, I also went on a Disability, Diversity and Equality training course for my v50 Award, which I found really interesting."

Image courtesy Liverpool Daily Post and Echo.

Teamwork is vitally important in human endeavours but teamwork is nothing without leadership – and I think this is especially so in wartime.

Arguably the most important theatre of the Second World War was the convoy system that brought vital supplies to besieged Britain standing alone against Hitler’s legions. There were many examples of great leadership on different levels as the Allies battled with the U-boat submarine menace. I believe leadership at sea can be one of the most testing because of isolation and lack of back-up.

The dominance of Germany’s U-boats was broken in the spring of 1943 with a decisive victory during the Battle of the Atlantic. In late April and early May, the escorts of convoy ONS 5 (UK to Halifax, Nova Scotia) scored conclusive success over the Wolf Packs.

For eight days and nights, the British B7 Escort Group led by Commander Peter Gretton on the destroyer HMS Duncan and assisted by two Brirish Support Groups, beat off attacks by 40 U-boats. They sank five and damaged many others for the loss of 12 merchant ships. Two other U-boats were sunk by the Royal Canadian Air Force and RAF aircraft. Even for the largest U-boat packs the cost of attacking convoys had become too high. This defeat marked the end of the U-boats’ ascendancy in the Atlantic.

Displays in the Merseyside Maritime Museum’s Battle of the Atlantic gallery include this photo of three heroes of the ONS 5 battles. Commander Gretton is seen between Lt Cdr Raymond Hart (HMS Vidette) (left) and Lt Commander James Plomer, Royal Canadian Navy Volunteer Reserve (HMS Sunflower). Commander Gretton had a distinguished naval career, later becoming a vice-admiral. Among his many honours was a knighthood in 1963.

A map shows the positions of U-boats in May 1943. A 1944 poster features a painting of a convoy seen from an escort ship.

In 1943 most of the American and Canadian troops and supplies needed for the Allied invasion of Europe were sent across the Atlantic. Victory in the Atlantic was essential if the Allies were to win the war in Europe.

While most of the naval escort work during the Battle of the Atlantic was done by the Royal Navy, the ships of many other navies were also involved.

A photo shows the Free French corvette Aconit on convoy duty in the North Atlantic. In March 1943 she and the British destroyer HMS Harvester sank the U 444.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo. A paperback – Mersey Maritime Tales (£3.99) – is available from the museum, newsagents, bookshops or from the Mersey Shop website (£1.50 p&p UK).

Elevation of the Midland Goods Warehouse. Reproduced with the consent of the Partners of Edmund Kirby & Sons.

I originally came to Liverpool to study architecture at uni, back in the days before computers took over the world when we made 'proper drawings' to millimetre accuracy. I'll never forget being told on work experience that I'd never be an architect if I couldn't draw a straight line.

I never did become an architect but have never lost my fascination with architectural drawings. It was a real treat therefore to see an exhibition of drawings by the local Victorian architects Culshaw & Sumners at Liverpool's Central Library. The exhibition has been curated by architectural historian (and former Walker curator) Joseph Sharples, who researched a huge archive of 6,000 drawings by the firm.

One of the firm's city centre buildings is the Midland Goods Warehouse, which was converted in the 1990s to become the National Conservation Centre. The elevation shown here isn't in the exhibition, but you can see a section through the building showing how the architects took advantage of the slope in the land to make it easier to unload carts.

Exhibitions of this type usually focus on grand designs, whether built or unbuilt, so it's a refreshing change see the inclusion of drawings for tiny court houses in Toxteth. The drawings were submitted in 1843 but were rejected as they fell short of the legal requirements for healthy housing established in the Liverpool Building Act the previous year. Together with the other drawings, showing grand business premises and housing with carefully routed staircases to keep servants out of the way, this gives a fascinating glimpse of life in the city at the time.

The exhibition is in the Piction Reading Room at the library until 31 March 2009.

It's Science Week so, as you'd expect, the folk in World Museum have had lots of free activities for budding scientists. Here's a pic of visitors making and painting plaster casts of fossils in the Clore Natural History Centre last weekend. If you missed that then don't worry, you can have a go this weekend.

There will also be a range of quizzes and colouring sheets and the chance to meet our resident dinosaur expert Dave Roberts who will be bringing out some specimens, including dinosaur poo. Full details are on the World Museum Liverpool events and activities page.

The handling team carefully wrap Jude the Giant's head in plastic sheeting

As I've mentioned many times before, life for National Museums Liverpool's handling and transport technicians is certainly never dull. This Flickr set of photographs of their activities this week look like scenes from a Victorian murder mystery - with dark, mysterious tunnels and body parts being wrapped.

The team were actually moving the mobile statue Jude the Giant. Many people will remember Jude, who was made in workshops at World Museum for the city's 800th birthday pageant in 2007, and has recently been on display in St Georges Hall.

She has now been dismantled, wrapped in protective packaging and taken to the National Conservation Centre for treatment before going back out on display in a new location later this year.

The handling team were assisted by textile conservators, especially when moving Jude's dress, which is a painted item that needs special care and attention. Handling technician and senior driver Paul Kelly thinks that the whole team deserves a big hand for doing such a great job.

Neon brights and clashing colours ruled the catwalk at the sports/casual show.

Following the fashion theme from Dawn's previous post, today it was Liverpool One's turn to host a series of fashion shows as part of Liverpool Fashion Week. Performing arts students from LIPA worked the catwalk (with plenty of attitude) wearing sports and casual wear from brands such as Blue Ink, Henleys and Fred Perry. Trainers were a big feature, with models carrying them around their necks while walking barefoot! Neon colours featured heavily, perhaps a hangover from the recent nu-rave trend, giving the whole show a bright, spring-like feel. It think my favourite t-shirt from the show was the Mr Men one from Blue Ink with the slogan 'I left Mr Grumpy at home', very cool.

If you are mad about sports/casual wear then take a few photos of your favourite tops or trainers and join our Metro V Retro Flickr group. Or drop in to see our Fashion V Sport exhibition and drool over the funky customised trainers.

Fila Collection. Copyright V&A images, Victoria & Albert Museum

Back in 1984 all the coolest boys at my school would spend their time practising the windmill and body popping to Grandmaster Flash and Afrika Bambaataa. They idolised Turbo and Ozone from Breakdance (remember the Tour de France scene with the broom?), Beat Street and local crew Broken Glass. They wore Nike Windrunner jackets, Fila BJ tracksuits, Lacoste and Fred Perry t-shirts. There were more trainers than I can remember – from Puma California to Adidas Samba, Bamba, Mamba, Trimm Trab, Forest Hills, Palermo, Corsica and Tenerife. The highlight of any school disco would be a highly anticipated uprock between two of the best poppers. To this day I still get a little flutter when I see a Fila sign. 

When Fashion V Sport opened at the Walker, the memories came flooding back, and it got me thinking about all those brands and clothes - how they still resonate with my particular generation, and what sort of clobber kids get excited about nowadays. So we’ve set up a Flickr group – Metro V Retro – where you can upload, post and reminisce about your sports casual gems or tell us about a future classic. If you’ve got something great in your wardrobe, we’d love you to share it – whether it is a cutting edge release, or a retro design.

As fortune would have it, Fashion V Sport also coincides with the Adidas ‘60 years of soles and stripes’ campaign for which they produced this fantastic TV commercial. It’s a powerful combination of an amazing soundtrack (Pilooski mix of Beggin’ by Frankie Valli and the Four Seasons), a plethora of celebs including Method Man, Katy Perry, Estelle, The Ting Tings, DMC (of Run DMC), Missy Elliot and David Beckham, and of course some very cool trainers.

At the same time, an edgy new movie called ‘Awaydays’ is drawing on the earlier influence of the 80s casuals scene (which is widely thought to have originated in Liverpool) set against a backdrop of football rivalry and violence. I recently saw an interview with the wardrobe advisor for the film who talked about how difficult it was to source all of the gear. So if you’ve got something special, keep hold of it. It could well be in demand in years to come.

Image courtesy Liverpool Daily Post and Echo.

At one time I had a yen to be a commercial artist but decided, at the age of 12, to become a reporter instead.

Public artworks that made the biggest impressions on me were the huge posters that screamed at you from Liverpool’s many cinemas. One I particularly remember for its wonderful colourful images advertised the classic double horror feature “The Blob” and “I Married a Monster from Outer Space”. It certainly grabbed everyone’s attention on the bus.

Later I learnt about the big contribution artists made to the war effort by boosting morale and passing on information.

Liverpool was Britain’s most important port in the Second World War, handling at least one third of the country’s imports brought in by convoys running the gauntlet across the Atlantic. Greatly assisted by other west coast ports, she was the main terminus for the convoys. By early 1941 Liverpool had also become a major naval base and the HQ of Britain’s North Atlantic campaign.

Recognising the port’s key role, Germany made her the target for 68 bombing raids – more than any other British port outside London. Liverpool’s ships and merchant seamen played a crucial part in ensuring Britain’s survival, as did her dockers, ship builders and repairers. 

Posters on display in the Merseyside Maritime Museum’s Battle of the Atlantic gallery highlight key areas. There are two showing variations of the Careless Talk Costs Lives campaign, perhaps the most famous in the Second World War. One shows a group of men talking in a pub and a picture of a ship sinking with the slogan: “She sails at midnight. He talked … this happened”.

The second is headed S.O.S and includes the lines:

Idle words – things heard or seen
Help the lurking submarine

A colourful poster shows ships entering harbour and being unloaded. The cargoes are put directly into steam trains similar to the ones that steamed along Liverpool’s dock road until the 1960s. In another, shown here, a cloth-capped dock worker is told by a soldier:

“Go to it chum! That’s war work – we get munitions in return for that lot!”
Our good go out. Food and munitions come in.
"We must have exports", Ernest Bevin

One declares: “Dockers help nail these lies! Back up the seamen – speed the turn-round.” This His Majesty’s Stationery Office (HMSO) poster is illustrated with a German propaganda leaflet dropped over Britain in 1941.

Merseyside’s 30,000 dockers, whose average age was over 50, played a vital role in the unloading of cargoes. Younger men joined the armed forces or went to other industries.

A new Maritime Tale by Stephen Guy appears every Saturday in the Liverpool Echo. A paperback – Mersey Maritime Tales (£3.99) – is available from the museum, newsagents, bookshops or from the Mersey Shop website (£1.50 p&p UK).

This week's snaps from the Museum of Liverpool building site have a definite smell of spring about them; sunshine, blue sky and crocuses. Pity this weekend's weather forecast is so lousy. I especially like this picture; the texture of the cladding highlighted by the morning sun. The lines are the rigging of the ship, De Wadden, in the adjacent graving dock. As ever higher-res versions this snap and more are in the Museum of Liverpool flickr set.

The build itself marches on. Our Twitter page charts the progress - become a follower.

Introducing Ed Casson, a new addition to the press team at NML:

When strolling around Liverpool I have always been told to look up to see the city's stunning architecture and history - now I'll find it hard to resist looking down. Last week I spent the afternoon on a guided 'fossil walk' with Tony Morgan, a geologist in the Clore Natural History Centre at World Museum Liverpool.

Starting at the top of William Brown Street, Tony pointed out a marking on the pavement (to the untrained eye a mere groove) which was in fact a 320-year-old fossilised fallen tree. Across St John's Gardens were distinct clam markings from the Jurassic Era - 150-million-years-old - on the William Rathbone statue.

Possibly Liverpool's oldest rock (although there are older examples in the World Museum's Clore Department) stands at an astonishing 1.5-billion-years-old. The Rapakivi Granite, from Finland, was used to build the former Allied Irish Bank in Dale Street. On to the Abbey National and jewellers Boodles in North John Street, and snail fossils can be found in the limestone.

Even stranger, as passers-by who watched as we studied the building will testify, are the fossils on the Met Quarter shopping centre in Whitechapel. The Bavarian granite contains large fossilised molluscs and cuttlefish-related creatures (again from the Jurassic Era), more examples of which can be seen at the World Museum. Tony, a member of the Liverpool Geological Society, explained that the molluscs could have grown to as large as two metres in diameter.

He said: "There are an amazing amount of fossils in the buildings across Liverpool, you just have to know what you're looking for and keep an eye out for them."

So then fossil-hunters, as they say at the bingo - "Eyes down!"

* An in-depth feature on the fossil walk, by journalist Emma Pinch, appeared in Tuesday’s Daily Post.

Me waiting in the wings before my Clare Balding interview at Aintree

All reporters remember big stories they worked on and the 1993 Grand National was for me one of the most memorable. It was the year the race was famously declared void after demonstrators disrupted the world’s greatest steeplechase.

This week I was quizzed by BBC racing presenter and former top amateur jockey Clare Balding about my memories of that amazing day. It was for an edition of The One Show being screened in the run-up to this year’s big race.

The show’s producers were prompted by my collection of passes, pamphlets, statements and press releases amassed on that day in the mayhem of the press room at the renowned Liverpool racecourse. Some years ago I donated them to National Museums Liverpool and they feature on our website where BBC researchers spotted them. This 1993 ephemera is destined for display in the new Museum of Liverpool opening next year.

It was decided to do the interview in the bitter cold in front of the County Stand. I admitted to Clare that the last time I had been to the course was when they secretly buried legendary winner Red Rum at the winning post. Since then I had watched the race from the Blue Anchor Bridge, a spot where you can be a spectator for free and avoid the crowds.

As we talked, my memories stretched back to my first visit in 1961 when Nicholas Silver won and I placed an unsuccessful sixpenny bet with exotic tipster Prince Monolulu.

I was there when Gay Trip won in 1970 but remember most the tiny comedian Jimmy Clitheroe, dressed in a suede coat, with his horse. That year I walked around the track with local MP Dick Crawshaw attempting an endurance record. I interviewed the formidable owner of Aintree Mirabelle Topham on the telephone – a major coup. 

In 1978 we had the ‘will he, won’t he?’ saga of Red Rum making his final appearance at Aintree. I met TV personality Angela Rippon when she cantered on Rummy along Southport sands.

I was there in 1981 to see cancer victim Bob Champion’s epic win on Aldaniti on a glorious sunny day.
 
But nothing could prepare me for the Race That Never Was. I told Clare it was like being on the Titanic steaming on regardless after being mortally wounded.

Nobody seemed to know what was going on in the press room until racecourse chairman Lord Daresbury took the helm at a news conference. The race was declared void because of two false starts.

This picture was taken by assistant director Sophie Wallace-Hadrill and shows Clare preparing to interview me as cameraman Tim Sutton and director Hamish Summers get things right. The structure in the background is the biggest marquee I’ve ever seen.