The Rough Fleet, an amorphous gang of street thugs under the leadership of John ‘Mad Jack’ Wilson were a terror to the locals, notably in and around Hanley, for many years at the very beginning of the 19th century. Born in 1787, Wilson was the eldest surviving son of David Wilson, a respectable pottery manufacturer who ran the Church Works, Hanley, which stood on ground between St John’s Church and what later became Hanley Deep pit, ground now given over to the swirl of roads and traffic islands where Town Road coming out of Hanley joins the Potteries Way. John Wilson was also the man who accidentally killed his brother and niece when he was firing off cannons to celebrate the Hanley Wakes in 1807 (see ‘An Awful and Melancholy Accident’ above). Maybe this family tragedy had in some way adversely affected him and set him on the criminal path he henceforth followed, but it is easy to look for excuses for bad behaviour and there is too little information on John Wilson’s early days to know for sure what started him on his criminal career; perhaps he had always been a bad lot who just got worse over time.
The approximate site of the Church Works just outside of the centre of Hanley Source: Google Earth
Concrete information on the early origins of the gang is likewise thin on the ground. Writing in the early 1840s and thus well within living memory of events, John Ward in his history The Borough of Stoke-upon-Trent, noted that ‘In the years 1808 and 1809 a gang of reckless young men, some of whom were respectably connected, carried on a system of nocturnal outrage, rather from a wanton and mischievous spirit, than for the sake of plunder, which greatly annoyed and terrified the peaceable community. They obtained the name of The Rough Fleet, from their daring and buccaneering-like exploits’. This may have been when they started their reign of terror, but if so it seems that they continued causing trouble and dodging any real justice for the better part of a decade before the gang’s chief members were finally brought to book.
Between 1816 and 1818, The Staffordshire Advertiser noted that the gang or its individual members were involved in several brushes with the courts for assaults, riotous behaviour and attempted shootings. At the Swan Inn in Hanley’s Market Square in early 1816, John Wilson was confronted in the bar by one outraged local, potter John Sheridan of Cobridge, who accused him of threatening his life and shooting at him, describing Wilson as ‘the terror of the neighbourhood’ and ‘the Captain of the banditti’. Wilson took Sheridan to court for slander when the latter accused Mad Jack of murdering his own brother, but he lost the case perhaps as a result of the growing ill-feeling towards him and his confederates. Incidents continued to be reported through to early 1818, while in the same paper John Wilson’s financial fall was also chronicled. His father David Wilson had died suddenly in 1816 and as John was his heir, the Church Works and family business had passed to him. Little good he did with it, though, being more interested it seems with his incessant drinking, partying with his gang and trouble-making and by July 1817 he was declared bankrupt and as numerous notices in the papers showed, his pot bank and other properties quickly passed out of his hands.
The end for the gang followed shortly after this in early 1818, when as Ward put it, ‘several of them were ultimately prosecuted at the Sessions, and convicted of various misdemeanors, which at length broke up the lawless confederacy.’ It came about as the result of an attack on a local constable Ralph Barton, who was left wounded by the encounter. Eight members of the Rough Fleet including John Wilson, were arraigned on a charge of riot and assault at the March Assizes at Stafford, being committed to Stafford gaol in June with the case being deferred until October; and it was there, doubtless much to the relief of the locals, that they finally got their comeuppance.
‘John Wilson, Samuel Shelley, Thomas Shufflebottom, John Clews, Henry Brereton, John Wallbank, Wallace Lockett, and Samuel Earnest, were convicted of riot, and of assaulting a constable in the execution of his office at Hanley. These prisoners are part of a corps too well known in the Potteries by the name of the Rough Fleet. Wilson (the Captain) was sentenced to eighteen months’ imprisonment; Shelley (Lieutenant) to ten months; and the other six to four months; each of them to find security for a year longer. The three first-named pleaded guilty.’
Following this conviction as Ward noted, the Rough Fleet seems to have been broken and it disappeared from the streets of the Potteries. Certainly that infamous title does not seem to crop up in any further stories in the contemporary press, save as a bad memory and the fates of its former members remain unknown.
Reference: John Ward, The Borough of Stoke-upon-Trent (1843) p. 369; Staffordshire Advertiser 16 March 1816, p.4; 5 July 1817, p.4; 18 October 1817, p.4; 31 January 1818, p.4; 21 March 1818, p.4; 13 June 1818, p.4; 24 October 1818, p.4.
An appalling family tragedy occurred in Hanley on Saturday 1 August 1807, when Robert, John and James Wilson, three sons of David Wilson, a respectable local pottery manufacturer in the town, prepared for the forthcoming Hanley Wakes by setting up three small cannon in Robert’s garden. There was a general gathering of friends and family there for the celebration, one of these was a friend of Robert Wilson named William Jervis, who nine years later described how the incident had unfolded. The whole group it seems were in high spirits, perhaps they had been drinking as they were certainly in a reckless mood. Jervis for instance, at one point went up to John Wilson, who would be setting off the cannons and said that he wanted to place his own child astride one of the barrels when it was fired, but John refused to let him do so and likewise refused to set the cannon off while his brother Robert and infant niece were so near. The first two cannons were loaded with powder and cabbages while the third was loaded with powder and an old sack for wadding which was provided by Robert himself.
Along with Jervis, Robert Wilson with his infant daughter in his arms then retired a safe distance to a nearby arbour to watch the show, but Robert was still feeling full of bravado and now made a terrible decision. Turning to Jervis he asked him whether he dared to pass in front of one of the cannons while it was firing? Jervis understandably refused to do so. Meanwhile, John Wilson, oblivious to this conversation fired off the first cannon, then the second, which with loud bangs sent gouts of smoke and showers of shredded cabbage leaves blasting out across the garden to the delight of those watching. As he was applying the match to the third, though, Robert came out of nowhere and ran in front of it with the child in his arms. The cannon went off as he did so and both were caught in the blast and it killed them. Robert Wilson got the worst of it, the sack wadding took the back part of his head off, and he died instantly. His daughter survived the initial blast but died of her injuries 20 minutes later. Their mangled remains were said to be a horror to behold and if it could be any worse, all of this occurred in front of a large group of family and friends including the little girl’s mother and grandmother; the grief and horror they all experienced can easily be imagined.
The authorities were alerted to the tragedy and a coroner’s inquest was convened on the following Monday. This quickly returned a verdict of accidental death and the two were buried on 5 August in the same coffin in the family tomb, their funeral being watched by many spectators. Newspapers of the time reported that the deaths cast a gloom over the Potteries that the amusements of the following week were unable to fully dispel.
In his book People of the Potteries, local historian Henry Allen Wedgwood attributed this accident to the mischievous folly of John Wilson who fired the cannons. John, despite his respectable background, later became notorious as ‘Mad Jack’ Wilson, the leader of the Rough Fleet, a gang of drunks, gamblers, street thugs and ne’er-do-wells, who for several years terrorised the Potteries. There are some significant differences in the story that Wedgwood relates, he says that the accident occurred after 1817, that there was only one cannon and that only Jack’s brother was killed when the gun went off. His act of folly, Wedgwood claimed, left ‘Mad Jack’ a broken man who then turned to the bottle for solace. However, despite his undoubted criminal career, if we believe William Jervis’ account the accident was actually due to the macho stupidity of Robert Wilson (it seems to have been a family trait) and John was the sensible one that day. John Wilson wasn’t broken by the tragedy, though it could be argued that coupled with subsequent events it perhaps unhinged him and turned him bad. Certainly it remained a very ‘tender point’ with him and nearly a decade later he took a man to court for slander after he had supposedly accused ‘Mad Jack’ of murdering his own brother that day. It seems however, that by 1816, John Wilson received little in the way of sympathy from the townsfolk, his thuggish reputation was against him as he lost the case, the jury easily finding for the defendant.
There may have been more immediate tragic sequels to this sad story when just over a month after the accident, and within only a few days of one another in late September and early October, the following death notifications appeared in the Staffordshire Advertiser. The first on 26 September 1807, seems to record the death of Robert and John’s mother, ‘On Wednesday last, at Hanley, in the Potteries, in her 46th year of her age, after a lingering illness which she bore with exemplary fortitude, Mrs Wilson, wife of Mr. David Wilson, at that place.’ Then, the following week, there was one apparently noting the death of Robert’s wife.
‘DIED… On Sunday evening last at her house in Newcastle-under-Lyme after a few days illness, Mrs. Wilson, relict of Mr. Robert Wilson late an eminent manufacturer at Hanley in the Potteries; – in her life and conduct was exemplified every virtue which dignifies the christian character; a sincere lover of and a liberal benefactor to the cause of truth; an affectionate relative; a true friend to the poor and distressed, and a promoter (so far as Providence had enabled her) of every benevolent institution within her sphere of action.’
As there is a lack of documentation regarding the Wilson family at this period, it is difficult to say conclusively that these were the mother and wife of the dead man, but if so it is not too great a leap to suppose that the two women had been crushed by the loss of their son, husband and daughter through Robert’s signal act of foolishness, that their mental and physical health had suffered and they had wasted away as a result.
Reference:Staffordshire Advertiser 8 August 1807, p.4; 26 September 1807, p.4; 3 October 1807, p.4; 16 March 1816, p.4; Henry Allen Wedgwood, People of the Potteries pp. 65-72. Local press coverage was thin on the ground at this time, only the Staffordshire Advertiser being available. Likewise, church records that might have added more details are lacking, due to the near wholesale destruction of St John’s records during the Pottery Riots of 1842. These (save for a single baptismal register) were lost when Hanley Parsonage was burnt to the ground.
Gertrude Astbury, known as Gertie Gitana, captured in a charming early publicity photograph.
Of all the famous names who have hailed from the Potteries, few in their lifetime gave more honest, unalloyed pleasure than Gertrude Astbury, who as ‘Gertie Gitana’ became a darling of the music halls prior to World War One. Her talent and staying power were considerable. In her prime, her name on the bill was enough to ensure a full house, and even in the twilight years of her career, she was still able to command a large audience.
Gertrude Mary Astbury, the eldest child of pottery turner William Astbury and Lavinia nee Kilkenny, a teacher at St Peter’s R. C. School in Cobridge, was born on 28 December 1887 at 7 Shirley Street, Longport, but the family lived at various addresses after that. When in 1954 the City Council decided to rename Frederick Street, behind the Theatre Royal in Hanley, as Gitana Street in her honour, Gertie wrote a letter to The Sentinel saying that she was very proud of the honour noting that ‘Gitana-street is adjacent to the theatre stage is appropriate.’ She then added, ‘I don’t think anyone knows of it, but it may be of some slight interest to mention that I actually lived in Frederick-street; my mother had a small shop there. I was three years old when we moved there and we were there for two or three years.’ There is no official evidence to support this story, but at the time of the 1891 census, Gertie was certainly living with her grandparents in Bucknall New Road, Hanley, while her parents and brother James lived in Burslem. Perhaps the family moved to Fredrick Street after the census was taken?
From a very early age, Gertie proved to be something of a musical prodigy. Apparently as a toddler she delighted in putting on performances for her dolls and by the age of four she had been enrolled into Thomas Tomkinson’s Gypsy Children as a male impersonator, singer and comedienne and was soon earning star billing as ‘Little Gitana’ (the Spanish word for a female gypsy). The tale told of her discovery is that she was seen dancing in the street (arguably in Frederick Street, Hanley) by two girls attached to the troupe who befriended her. She then went along to one of the rehearsals and began copying the moves. Thomas Tomkinson noticed her and recognising her ability, applied to her parents to let her join the troupe. Once in the line-up and out touring with the show first around the Potteries, then through Wales, Gertie honed her skills and there was no doubting her burgeoning talent and her performances were regularly singled out for praise in press reports. In 1896, her career was given a helping hand by two music hall veterans, James and Mabel Wignall, known professionally as Jim and Belle O’Connor, who took her away from the Gypsy Children and under their wing. Though the O’Connors were apparently somewhat protective of their young charge, it was not in any sinister way and Gertie always referred to them affectionately as ‘Uncle and Auntie.’ It was thanks to them that at only eight years of age, Gertie made her music hall debut at the Tivoli in Barrow-in-Furnace, where she sang the song, ‘Dolly at Home.’ Two years later at the age of ten, she had a major billing at The Argyle in Birkenhead, and her first London appearance came in 1900.
By the age of 15, Gertie was earning over £100 per week, much more than her father earned in a year. At the age of 17, she topped the bill for the first time at The Ardwick Empire at Manchester. From late 1903 onwards, though often still appearing as Little Gitana, she was also being referred to increasingly as Gertie Gitana, the stage name she would adopt for the rest of her career. As she grew into womanhood, though, her skills and repertoire expanded and as well as singing she entertained by tap dancing, yodelling, and playing the saxophone, a relatively new instrument developed in the States and which at that time was something of a novelty in Britain. Her music hall repertoire of songs over her career included ‘All in a Row’, ‘A Schoolgirl’s Holiday’, ‘We’ve been chums for fifty years’, ‘When the Harvest Moon is Shining’, ‘Silver Bell’, ‘Queen of the Cannibal Isles’, ‘You do Look Well in Your Old Dutch Bonnet’, ‘Never Mind’, ‘When I see the Lovelight Gleaming’, and most famously ‘Nellie Dean’ which she first sang in 1907. It was a song her younger brother James had heard in the United States and was an instant success for Gertie, becoming her signature tune. Her first gramophone recordings, dating from 1911–1913 (some of which can be heard online), were made in London on the Jumbo label.
Vintage portrait of Gertie Gitana, the famous music hall performer, holding a saxophone.
During the Great War, like many music hall performers Gertie turned her talents to entertaining the war wounded in hospitals or raising funds for the injured and she gained a following with the men in the trenches as a forces sweetheart. After the war, she appeared in pantomime, most notably as the principal boy in Puss in Boots, or as Little Red Riding Hood, and Cinderella. One amusing incongruous tale from this period is that she was reputed to have said the line in Cinderella, ‘Here I sit, all alone, I think I’ll play my saxophone’, before removing the instrument from the stage chimney and bashing out a tune*. Two musical shows were specially written for her: Nellie Dean and Dear Louise, and in 1928, despite initial opposition from the O’Connors, Gertie married her leading man in the latter, dancer Don Ross. Don was as ambitious and driven as his wife and would later prove to be quite the impresario, bringing over one of the first Vaudeville strip-tease artists after a visit to the States, running a three-ring circus and organising variety shows; he later became King Rat of the Grand Order of Water Rats and founder and first president of the British Music Hall Society.
The autobiography of Gertie’s friend and fellow performer Ted Ray
After the shows had run their course, Gertie returned to the variety scene, working for some time in partnership with blackface performer G. H. Elliott and an up-and-coming comedian Ted Ray, who liked her immensely. In his autobiography, Ray described both Elliott and Gertie as charming and courteous professionals, who never let their acts devolve into smut and no matter what their moods or what else was going on in their lives, never let an audience down or turned in a sub-par performance.
However, determined to retire at 50, by her own design Gertie’s career was now winding down. Made rich by her tireless work over the years (“No gutters for Gertie.” she sometimes commented wryly on her wealth) she was able to retire in 1938, but the old trouper could not be kept down and ten years later she made a short but very successful comeback with other old music hall stars in the show Thanks for the Memory produced by her husband. The show was the centrepiece of the Royal Command Performance in 1948. Her final appearance was on 2 December 1950 at the Empress Theatre, Brixton. She retired completely after that and spent her remaining years quietly, though she increased her fortune by speculating successfully on the stock market. On her death she left just over £23,584 in her will, equivalent to £484,727.62 in 2024.
Gertrude Ross, nee Astbury, alias Gertie Gitana, died of cancer on 5 January 1957 in Hampstead, London, aged 69, and was buried in Wigston Cemetery, Wigston Magna, Leicestershire, where her husband had been born. Some lines from her most famous song, ‘Nellie Dean’ are engraved on the gravestone.
By all reports, Gertie, though no pushover after years toughing it in showbiz, was an incredibly good natured and generous woman, well-liked not only by her legion of fans, but also by her fellow performers who felt her loss. After her death her friend, comedian Ted Ray, wrote ‘She was the most gentle, loveable person I ever met… A perfect artiste in every sense of the word. I place her among the immortals.’ In his book My Old Man, former Prime Minister John Major, recalled how years later his father (who trod the boards as part of the act ‘Drum and Major’) expressed similar sentiments about Gertie. Her death made the TV and radio news of the time, papers including the Sentinel, carried glowing obituaries to the star and memorials were mooted, though the only one of note at the time was a memorial bench that was unveiled in Edinburgh. In the Potteries memorials to Gertie Gitana have for the most part been fleeting. The Gertie Gitana pub (later The Stage Door) has come and gone, likewise Gitana’s pub in Hartshill and today few save die-hard local historians or music hall enthusiasts remember her. But her name lives on in Gitana Street, an honour that never ceased to delight and surprise her. As her husband Don Ross recalled, on the day she died Gertie was fading away, but talking with him about this and that when unbidden she suddenly brightened up and said, ‘Fancy them naming that street in Hanley after me.’
Modern day Gitana Street, Hanley. Source, Google Earth.
*Comedian Roy Hudd in his foreword to Ann Oughton’s biography of Gertie Gitana, recalled asking Don Ross in later years if Gertie really had used the amusing ‘… I think I’ll play my saxophone’ line in Cinderella, but Don neither confirmed nor denied it.
Reference: Ann Oughton, Thanks for the Memory, passim;Ted Ray, Raising the Laughs, pp. 86-87; Evening Sentinel 15 February 1954 .
Being situated in such a hilly region, widespread flooding is a rarity in Stoke-on-Trent, but occasionally chance extremes of weather have briefly put parts of the area under water. One startling weather event occurred on the afternoon of Sunday, 7 July 1872, when what the Staffordshire Advertiser described as ‘a thunderstorm of great severity’, struck the Potteries. Though it only lasted an hour and a half, it was so fierce that it left in its wake many dozens of flooded or damaged properties and a somewhat shell-shocked populace. Considering the violence of the storm and the damage it caused, remarkably few people were injured, though it seems there were many close calls.
It had been cloudy all day, but in the afternoon the sky began to grow much darker presaging a storm, the light becoming so dim that newspapers could only be read near to windows or by candle or gas light. The dark clouds then gave way to ones with a strange yellow tint to them and it was then that it started to rain, not in drops, but as a veritable deluge driven in by a fierce wind and accompanied by loud claps of thunder and multiple bolts of lightning. In Hanley there was one very alarming event when a bolt of lightning passed through the Primitive Methodist school room in Frederick Street (now Gitana Street), entering by one window and out through another. The only damage was a scorched paint board on the front of the building, but the room had been full of children when the lightning shot through and these now fled the room in panic. They had to descend a flight of stairs to get out of the building and while none had been injured by the lightning, several now fell and were trampled underfoot and bruised in the crush, though none of them seriously.
During a service at Shelton Church, it rained so heavily that water forced its way through the roof and poured down into the building in streams. Buckets had to be brought to catch the water and the noise produced during the saying of the litany is said to have made for a very curious sound. Elsewhere in town, the lobbies of Bethesda Chapel in Old Hall Street were flooded, so too were numerous houses in town, notably in Nelson Place where part of the road nearby carrying a tramway was washed away. In Hanover Street, the downpour lifted stones up out of the road and deposited them at the bottom of Hope Street, where a heap big enough to fill two barrows was collected. The bottom end of Hope Street itself flooded, filling the cellars with up to a foot of water, floating heavy beer barrels in a brewery and boxes of live chickens in one house. The damage done to yards and gardens was tremendous. Nor were the local pot banks immune. The Cauldon Place works were flooded, though no serious damage was caused. Hanley’s satellite villages were likewise hard hit. At Basford a lightning bolt shot down a chimney and blew away a portion of a mantle shelf in one of the rooms; Etruria saw dozens of properties flooded, as too did Bucknall, where the water rushing down the roads and through the houses quickly threw the Trent into spate, causing it to overflow. This caused enormous damage on the low-lying ground of the neighbouring Finney Gardens where Bucknall Park now stands, some of the walks, plants and flowers being washed away by the sudden inundation.
Probably in no other part of the Potteries were the effects the storm so severe than in Burslem. Reporters on the scene shortly afterwards noted that even the oldest inhabitants had never before witnessed such a tempest, one stating that the rain ‘came down in bucketfuls’. The rain here was particularly heavy and for more than an hour the thunder and lightning was incessant and at one point the wind rose to a terrible pitch causing major damage in several places. On the Recreation Ground (where the old Queens Theatre now stands), Snape’s Theatre, a temporary structure of wood and canvas which had been constructed for the town’s wakes week, was in a matter of minutes blasted to smithereens. A number of the thickest supports were splintered like matchwood and many of the rafters and seats were destroyed, while the canvas roof was torn to shreds as the wind hit it. Mr Snape was a veteran travelling showman, well liked in the district and there was a great deal of local sympathy for him over his losses. In the aftermath of the storm a fund was set up, subscriptions to which would hopefully help him in repairing the serious losses he had sustained.
The Big House, Burslem
Just down the road from where Snape’s Theatre was taking a battering, part of an eight-foot tall wall between a timber Yard and the Big House was knocked down by the wind and rain, the accumulated flood water then rushed through the ground floor of the Big House with great force, blowing the front door open and then pouring in a stream down the turnpike road.
At the Roebuck Inn in Wedgwood Place, the violence of the rainstorm split some of the roof tiles, causing a mass of water to cascade into the upper rooms, then down the stairs and out through the front doors. The Town Hall too received a soaking, the basement of which was flooded to a depth of three feet, which caused no end of problems for the hall keeper and his wife who had the job of clearing it all out. Likewise the row of houses in Martin’s Hole – literally a hole or hollow near the Newcastle Road, where the roofs of the houses were on a level with the road – ‘presented a truly pitiable appearance’, the buildings being flooded to a depth of four and a half feet, ruining food stores and furniture and forcing the luckless inhabitants to seek shelter on the upper floor.
Almost everywhere else it was the same story with only slight variations. Longport received a severe visitation with most of the houses flooded to several feet. At Middleport the canal overflowed adding to the chaos. At Tunstall, water poured into the police station and several houses doing much damage. In Smallthorne numerous houses were flooded and smaller items of furniture were flushed out of the doors and sent floating down the street. At Dresden as well as the numerous flooded properties, the road at the lower end of the village was split apart by the storm, leaving it looking for all the world as if it had been heavily ploughed, which made it impassable to traffic and men had to be brought in to make repairs. In Stoke, Fenton and Dresden as in Burslem, many householders were forced briefly to live upstairs as their ground floors filled up, sometimes as high as the ceiling. Longton too suffered torrential rain and likewise had some flooding, but saw much less material damage, though at one pot bank the downpour extinguished the fires in their kilns.
Then the storm passed, leaving the Potteries in a battered state that it would take several days to recover from. That evening another storm broke overhead, but this turned out to be a much less severe event and caused no more serious problems.
Reference: Birmingham Daily Post, Tuesday 9 July 1872, p.5; Staffordshire Advertiser, Saturday 13 July 1872, p.5.
In 1975, a small article appeared in the Evening Sentinel noting that at the battle of Balaclava during the Crimean War, 1358 Private George Turner* of the 11th Hussars, born in Burslem, had been mortally wounded during the Charge of the Light Brigade. According to his records, Turner was indeed from Burslem, and had worked locally as a crate maker until at the age of 18 he had enlisted in the 11th Hussars at Coventry on 24th September 1847. As the paper noted, he was probably the only man from the Potteries to have taken part in that famous but suicidal military action, when on 25th October 1854, a force of nearly 670 light cavalrymen were mistakenly launched in a frontal attack on an extended line of Russian cannon, infantry and cavalry at the end of a valley, that were further supported by other batteries on either side. The results of this colossal blunder were predictable, with some 110 British soldiers being killed and 160 wounded in the attack, a 40 percent casualty rate, while over 300 horses were killed.
Richard Caton Woodville’s famous painting of the Charge of the Light Brigade. Lord Cardigan on the far left of picture is dressed as the commander of the 11th Hussars. Source: Wikimedia Commons
The 11th Hussars, resplendent in their black fur shakos, blue and gold braided jackets and crimson trousers, formed half of the second rank of the Light Brigade, though that did not spare them and they took a severe mauling from the Russian cannons as the Brigade closed on the enemy line. Private Turner was one of those struck down well before they got there, hit on the left arm by a cannonball, his injury being witnessed by Sergeant Major George Loy Smith of his company, who was riding nearby. Loy Smith later wrote ‘… before we had gone many hundred yards Private Turner’s arm was struck off close to the shoulder and Private Ward was struck full in the chest.’ Another Private named Young had received a similar injury to Turner and Loy Smith told him to turn his horse around and go back to their own lines, ‘… I had hardly done speaking to him, when Private Turner fell back, calling out to me for help. I told him too, to go back to the rear.’
The rest of the brigade rode on down the valley and through the line of cannons where they briefly caused havoc in the rear of the Russian line before exhaustion, the decimation of their ranks and Russian reinforcements forced them to retreat. Turner meantime, must have ridden, or been carried back down the valley to the British lines, bandaged up and with others was then placed aboard a transport ship bound for the military hospital at Scutari in Turkey. However, he never made it, his wound was too severe; Private George Turner aged 25 years old died aboard ship on 28th October and was probably buried at sea.
There was no mention of the fate of Private Turner in the local papers at the time and it took 120 years for his story to finally make the pages of the Sentinel. It was related by Mr W. R. Baker of Endon, who added, ‘I ask your readers to spare a moment’s thought to his memory now when tradition has little meaning and patriotism is an outmoded word I make no apology for thinking that he should not be entirely forgotten.’
There existed, though, another poignant addendum to Turner’s sad tale. Seven months after the battle of Balaclava, the Light Brigade had passed again over the same ground, now deserted of enemy troops and here the upper part of a sabre scabbard, all twisted and mangled, was picked up by Sergeant Major Loy Smith and it became part of his collection of memorabilia. When the collection was put on display in Sheffield in 1981, a card attached to the scabbard’s remains read, ‘This belonged to Private Turner, K.I.A.’
*Despite my best efforts, I have yet to find a trace of a George Turner in the local civil records who fits the available data, raising the possibility that the name is an alias.
Reference: Evening Sentinel, 25 October 1975, p.4; George Loy Smith, A Victorian RSM: From India to the Crimea, p. 132.
My thanks to Mr Philip Boys for kindly providing me with background information on Private Turner contained in ‘Lives of the Light Brigade: The E. J. Boys Archive’.
Some of the prize winning animals at the 1885 Hanley dog show.
When he paid a visit to the Potteries in the summer of 1874, journalist James Greenwood noted that Hanley was a town full of dogs:
‘Tykes of all ages, sizes, and complexions sprawl over the pavements, and lounge at the thresholds of doors, and sit at the windows, quite at their ease, with their heads reposing on the window-sill, hob-and-nob with their biped “pal,” who cuddles his four-footed friend lovingly round the neck with one arm, while his as yet unwashed mining face, black and white in patches as the dog’s is, beams with that satisfaction which content and pleasant companionship alone can give.’
How accurate a portrait of the town this was is open to debate as Greenwood immediately went on to write the infamous story of the ‘man and dog fight’ that scandalised the area, a tale that ultimately backfired on him when it became pretty obvious that he had concocted the whole story. Yet there is plenty of evidence to suggest at least in the comment above that Greenwood was not being untruthful and the locals were indeed keen pet owners and dog fanciers. A dog and poultry show was regularly held in Hanley from 1865 into the 1870s and in October 1883 Hanley hosted a major dog show organised by the North Staffordshire Kennel Club. This proved so successful that in February 1885 a second exhibition took place. This was larger and much more widely reviewed by the press, attracting not only local but national and even international attention.
Held over two days 24th and 25th February in the old covered market in Hanley, there were 774 entries for the show and there could have been more but for a lack of space. Most of the major show breeds were present in large numbers. There were 170 fox terriers; 74 St Bernards; 27 mastiffs; 22 pointers; 18 setters; 88 collies; 34 bull dogs; 20 bull terriers; 48 dachshunds; 18 pugs; and six bloodhounds. Add to this the more obscure dogs and hounds, some from abroad, plus some champion dogs including five mastiffs who had secured honours at the prestigious Crystal Palace shows, and you had you had a major treat for dog lovers from across Britain. Anticipating a good turnout both the North Staffordshire and London and North Western Railways issued cheap tickets for those wanting to attend the show.
Providing a series of illustrations for The Illustrated Sporting and Dramatic News, was Louis Wain, the artist who in later life went mad and spent his latter years painting numerous pictures of sinister anthropomorphic cats. At the time of the Hanley dog show, however, he was still quite sane and penned a series of fine dog portraits and whimsical side illustrations. The most amusing sketch showed a carriage trundling its way up the bank from Stoke Station up into Hanley, bringing with it a fine collection of prize pooches, large and small, riding in or on top, or running behind the coach, evidently much to the astonishment of onlookers.
Another of Wain’s illustrations showed that once in the market hall the various dogs were housed in a series of pens ready for the viewing of the general public and while they waited on the judges to do their rounds. There were a few problems. A reviewer in the same paper that carried Wain’s illustrations noted that quite a few of the dogs on show still bore evidence of a mange epidemic that had recently swept the country. Most were over the disease and the worst effects they showed were rather patchy coats, but a few displayed signs that their condition was still ‘alive’, much to the reviewer’s alarm. The entry of such obviously infected dogs he put down to the laxness of the ‘honorary veterinary surgeon’ and the inconsiderate nature of some owners. This was all the more surprising as one of the Kennel Club’s rules stated quite forcefully that no dog suffering from mange or any other infectious disease would be allowed to compete or be entitled to receive a prize.
The writer also suggested that the chains holding the dogs in their pens were in many cases far too long. Some of the dogs were fierce or excitable and in their frenzy apt to fall over the edge of their bench and with the smaller dogs in danger of hanging themselves. Wain illustrated the point with a picture showing a placid St Bernard face to face with a group of irate terriers, one of whom had taken just such a tumble and was in danger of throttling itself. The long chains also allowed more mischief as some of the animals were able to get around the partitions and engage in scraps with their surprised neighbours.
In the long run, though, these were minor issues in what turned out to be a very successful and well organised show. And as can be seen from Louis Wain’s fine illustrations, despite the ravages of the mange epidemic there were still many handsome dogs on hand to pick up the numerous prizes. So popular did the exhibition prove that another show was organised early the next year and the competition carried on through the latter years of the 19th century expanding into a dog and cat show by the late 1890s.
References: The Illustrated Sporting and Dramatic News, 7 March 1885 pp. 607, 617, 623. James Greenwood, Low Life Deeps, pp. 16-17
On 9 July 1908, the Longton Park Fête was in full swing and as well as the numerous stalls, funfair rides and other amusements put on to beguile the crowds that flocked to the park, there was another attraction, a parachute descent was to be performed by Captain Auguste Gaudron’s team. Thrilling as this was in itself, spice would be added to the display by the descent being made not by men, but by two young women, an experienced parachutist, Elizabeth ‘Dolly’ Shepherd and a novice named Louie May. In fact, Louie May should have made her first jump the day before from a new large balloon known as the ‘Mammoth’, the biggest then in Britain. The balloon and its passengers had indeed gone up, but it had been too windy to make the jump and to console the disappointed crowd Captain Gaudron had announced that they would try again the next day. He added that they would be joined overnight by the famous Dolly Shepherd who was doing a jump elsewhere that day, but that tomorrow she and Louie would make a double descent. Sure enough, Dolly arrived in Longton later that night and though initially surprised that Louie’s jump had not gone ahead, she was happy to join her for her maiden descent.
Dolly Shepherd and Louie May
This morning the day seemed perfect; the sun was out and there was no sign of the high wind that had spoilt the jump the day before. At Captain Gaudron’s request Dolly and Louie went out early and mingled with the spectators to drum up interest. This they could do without even trying. Dolly was an attractive brunette and Louie a pretty blue-eyed blonde and both of them were practically clad in – for the time – rather daring, masculine-looking blue knickerbocker suits styled loosely after a midshipman’s uniform, plus matching caps that certainly attracted a lot of attention. So too again did the Mammoth which Gaudron’s men now began filling with gas and this soon towered high over the park and stood waiting for its passengers.
However, the weather again spoilt their plans, this time with a short but heavy downpour of rain that suddenly and rather unexpectedly caused the Mammoth to sag and then collapse. There were urgent cries from Gaudron’s team and announcements over a loudspeaker, “No smoking please. Gas is escaping.” The spectators moved back a safe distance and watched the balloon in dismay. Sensing the frustration of the onlookers, seemingly robbed of yet another chance to see the lady parachutists, Captain Gaudron now turned to Dolly and asked her if she had brought her smaller balloon with her from her previous performance. Luckily, she had left it at the train station, so a pony and trap were immediately sent to collect it while the Mammoth crumpled into an untidy heap and Gaudron’s men went in to check it over. The problem was soon identified as a faulty top valve that had been leaking and it had only needed the weight of the rain to cause its collapse.
All was not lost, though, for Dolly’s balloon, though much smaller in size was quite capable of lifting two people. There was no basket underneath, instead the parachute hung down beneath the balloon and the parachutist would be suspended at the bottom in a sling-like seat into which she was tied with a belt, whilst holding onto a trapeze bar. Keeping track of her altitude with an aneroid barometer on her wrist, once the correct height had been reached, the parachutist would then tug on a cord that would release the parachute via a simple mechanism. The mechanism would also cause a valve on the balloon to open, venting the gas and thus sending it back to earth. These ‘solo’ balloons were normally reserved for more advanced parachutists and it was unusual to send a first-timer up under them, maiden jumps usually being accomplished from a basket, but as that was no longer an option and with Dolly as a willing chaperone, Captain Gaudron felt confident enough to let Louie go up with her.
When the balloon arrived it was immediately hooked up to the gas pipe and the canvas soon began to swell up into a large globular shape, the ground staff holding it down with ropes attached to the netting that covered the balloon. It was no hardship to rig it for two parachutes, one on either side to balance it up, though a second release mechanism had to be hastily improvised for Louie’s chute and this worked perfectly. Then the two women were carefully fastened into their slings and held onto their trapeze bars while the balloon was held suspended above them. With all of the delays it was now 8 p.m., and a huge crowd had gathered to watch. Captain Gaudron now gave the order, “Let go!”, the ropes were released, the two women ran forward to get under the balloon as it leapt into the air and were suddenly lifted off the ground, Dolly setting off with a jaunty wave of the silk Union Jack that she kept for such occasions.
The plan was for the balloon to climb to a height of 4,000 feet before the two women pulled their release cords; they would then float to earth within view of the thousands of spectators. However, that height came and went and no descent was made. Instead the balloon kept on climbing higher and drifting out of sight. By this time the spectators as well as Captain Gaudron and his people, had realised that something had gone wrong. Alarmed, Gaudron soon set off in urgent pursuit of the errant balloon and its two passengers, leaving the crowds in Longton Park to slowly disperse and go home, troubled by the turn of events and anxiously awaiting news of the fate of the two female aeronauts.
Something had indeed gone badly wrong. High in the sky above North Staffordshire away from the eyes of the assembled spectators, a scene of high drama was taking place, against which even the excitement and danger of a normal parachute drop paled into insignificance.
Initially, the ascent to 4,000 feet had been trouble free and as Dolly later recalled, Louie had been delighted with the experience. When they did eventually reach the required height, Dolly as the more experienced parachutist called time and waited to see Louie release her chute and start her descent before she did the same. It was just as well that she did, for when Louie reached up and pulled on her release cord, nothing happened; the improvised mechanism that worked so well on the ground had jammed. Pulling herself over via a connecting rope, Dolly tried to release her companion’s parachute but to no avail and the balloon carried on ascending, passing through the cloud layer and into the clear sky above to a height of 11,000 feet. At this height the air was thin and it was getting cold and Dolly realised that the only way that they would both escape from their increasingly perilous situation would be to risk making the drop back to earth on her parachute. Using the connecting rope to pull them together once more, she now told her frightened companion what they needed to do. Painfully aware of the two mile drop below them, Dolly held them together while Louie carefully unfastened herself from her sling and the two women wrapped their arms and legs around each other tightly before letting the defective ‘chute swing away. Hoping that her own parachute release still worked, Dolly reached up and pulled the release cord and was rewarded instantly by the sight of the the balloon apparently leaping away from them as they plummeted earthward. For a few nerve-wracking seconds the parachute struggled to open, but as they exited the clouds and hit heavier air Dolly felt a familiar pull and looked up to see the parachute fully deployed above them, arresting their fall to what she hoped was a survivable speed.
A wildly exaggerated newspaper illustration of the incident. Not only are details of the rescue incorrect but in reality Dolly and Louie’s knickerbocker suits were much more practical.
Swinging down out of the evening sky on their single parachute, the two women now found themselves suspended over a vast tapestry of green fields, woods and little villages. The prevailing winds had taken them south-east of the Potteries in the direction of Uttoxeter. Dolly, though, was not so much concerned about where they were, but how to land safely, as with Louie restricting her movements, there was no way of steering to a softer landing spot and the ground was rushing up much faster than normal. As they neared the ground, for the first time in the entire episode Dolly felt a pang of fear and cried out in alarm, as they seemed to be heading directly for a road, the hard surface of which might prove fatal at this speed. Luck, though was on their side and moments later they thumped down into the soil of a farmer’s field, Dolly hitting the ground first and falling backwards as Louie, still holding on tightly, landed on top of her. The impact felt like a hammer blow for both of them and Louie immediately jumped to her feet, crying that all her teeth were knocked out. In fact she was unharmed and when the initial shock had passed, the two of them burst into peals of hysterical laughter out of sheer relief at having survived such a terrifying but remarkable adventure.
Though Louie was fine, Dolly remained lying on her back and did not move. She felt that she had injured herself quite badly and that she needed to stay where she was until help arrived. Moments later a portly farmer appeared followed by his wife and children, then another farmer and his family, all of whom had seen the parachute coming down. They immediately offered to help Dolly to her feet but she begged them to leave her alone and call for a doctor. One of the farmers, Charles Hollins then took charge and a man was sent off to Shelton to get a doctor. The women now discovered that they had landed at Field Farm, three miles from the village of Leigh and 14 miles from Longton where they had begun their balloon ride.
When the doctor eventually arrived he immediately appreciated that Dolly had sustained a serious back injury and had her carefully lifted into a door provided by Farmer Hollins in lieu of a stretcher. She was then transported back to the Hollins’ farmhouse where she would find herself laid up for the next 8 weeks. Here, under the doting care of the Hollins family and the watchful eyes of a couple of local physicians, who treated her with mild electrical therapy, Dolly made a remarkable recovery and to the surprise of many within a couple of months of her accident she was not only walking, but parachuting once more.
Dolly continued with her parachuting career until 1912, when during one of her solo ascents, she claimed to have heard a voice telling her quite clearly not to come up again or she would be killed. Utterly convinced, once she had landed safely she announced to Captain Gaudron that she was giving up parachuting and immediately returned to London, where for a time she worked in her aunt’s shop. During World War One, Dolly served as an ambulance driver on the Western Front. Occasionally, she was called upon to use her driving skills to chauffeur army officers around the front; one of these she later married and finally settled down. True to her word, she never did another parachute jump.
Decades later, though, in her twilight years, the old parachutist did mix with like-minded people once more. She was famous now not only for her pioneering achievements in parachuting, but also because she was a record holder, being officially recognised by the Guinness Book of Records, for making the world’s first mid-air rescue. As a result she was honoured by invites from the Parachute Regiment’s Red Devils and the RAF Falcons display teams and despite the ethereal warning from above not to go up again, in 1976, the elderly Dolly took advantage of her latter-day fame to take a ride up in an aeroplane with the Red Devils, to watch them perform a sky dive, but it was her last journey up into the clouds. Dolly Sedgwick, nee Shepherd, died in 1983, just a few weeks short of her 97th birthday.
As to what became of the other actor in that famous first mid-air rescue, Louie May, Dolly could not say. Captain Gaudron and Louie had returned to London during Dolly’s convalescence and she never saw her again. She later heard that Louie’s fiancé was livid when he discovered what she had been doing and that he had immediately spirited her away from the crazy world of parachuting and the dangerous company of Miss Dolly Shepherd.
Reference: Dolly Shepherd, When the Chute Went Up, pp. 129-151: Uttoxeter Advertiser and Ashbourne Times 17 june 1908, p.8 and 1 July 1908, p.5.
The Trenton basketball team 1896-97. Fred Cooper is bottom left with the ball, his friend Al Bratton is bottom right.
In 1896, Frederick Cooper, a distant American cousin of mine, earned himself a place in the history books through the simple act of accepting a fee. Several years earlier, a dynamic new game called basketball had been invented that was gaining a strong following in the various YMCAs on America’s east coast. Fred, already a keen sportsman had like many others quickly warmed to the game, becoming the star player and captain of the highly successful Trenton YMCA team that for the previous three years had dominated the emerging leagues. At first the new game had been played for fun and entertainment, but the groundswell of support soon saw seats being sold for popular teams and inevitably the money trickled back to the players that the crowds wanted to see. The result was that in 1896 Fred was the first to accept payment for a game and in doing so became the world’s first professional basketball player.
Though he would make his name in the United States, Fred Cooper was actually born at 21 Bethesda Street, Shelton on 25 March 1874, the fifth of seven children – six boys and one girl – born to Thomas Cooper and Ann, nee Simpson. Fred’s father, Thomas, had started out as a working potter but over the years had moved into small scale pottery manufacture. However, in the mid-1880s, in the wake of what was later described in Fred’s obituary as ‘some business reverses’, Thomas and Ann decided to emigrate and join their eldest child, William who was already settled in the States, working at the Greenwood Pottery in Trenton, New Jersey. The Coopers left Britain early in 1886, travelling as steerage passengers (i.e. 3rd class) aboard the SS England, arriving at New York on 27 May 1886, from where they made the relatively short journey south west across the state to Trenton. As it turned out, Thomas would only enjoy his new home in America for a few years, dying in 1891 at the age of 56, but his wife and children settled into their new lives and over time became valued members of the local community.
Trenton, New Jersey, USA
On arriving in the States, Fred and his younger brother Albert, or ‘Al’ as he became best known, had been enrolled in the Centennial School where they soon got involved in sports and stood out as skilled footballers, a game their father had taught them. Fred especially proved to be an all-round sportsman, also taking up baseball, competitive running and later becoming a fine billiards player and a good bowler. His successes, though were at first eclipsed by his older brother, Arthur, who back in Britain had been such a skilled footballer that in the early to mid 1880s he played for Stoke F.C.’s junior team, Stoke Swifts. Arthur seems to have stayed behind for a year after the rest of the family emigrated, perhaps to help the Swifts in their attempt to win the junior league cup. Once this was over though, in 1887, he too took a ship to the States, but not before being presented with a handsome medallion by his team mates and the club. Once in the States, Arthur’s success had continued, and it was not long before he was picked as a member of the All-America soccer team.
While his brother’s career blossomed, Fred left school and found work as a sanitary-ware presser at one of Trenton’s pot banks, a job he would do for the better part of three decades. He continued to pursue his love of sport in his spare time through the local YMCA, which acted as a youth club for boys and young men of religious families like the Coopers. Here he found a kindred spirit in another keen footballer named Al Bratton, with whom he seems to have formed a winning partnership, not only on the football pitch, but also when the two of them decided to try their hand at the new game of basketball that was sweeping through the YMCA branches. Only a few years had passed since Canadian-born training instructor James Naismith had dreamt up the indoor game to placate a group of YMCA trainees at the School for Christian Workers, Springfield, Massachusetts, who had been chafing at their inactivity during the long winter months. Though rough-hewn at first, with early games resembling pitched battles between oversized teams, basketball proved an immediate hit and when Naismith published an article on the game it was quickly taken up by YMCA branches along America’s east coast. Soon, matches were drawing sizeable crowds and more and more teams sprang up, one of which was Trenton YMCA.
Fred Cooper and Al Bratton first joined the Trenton YMCA basketball team for the 1893-94 season and had an immediate and lasting impact on how the game was played. In those early days, basketball was a game of individual dribblers working their way through the opposition before attempting a shot at the basket, a method that favoured heavy-set players who could push their way through the field. According to one of basketball’s early chroniclers, Cooper and Bratton changed this, creating a more fluid game by drawing on their footballing skills to develop a system of short, swift passes between them on the run, a style of play that completely unbalanced opposing teams.
‘The Trenton system of passing was definite. It meant to carry the ball to the opponent’s basket in order that a goal might be scored, and time and again I have seen Cooper and Bratton in those early days, pass the ball back and forth between them – no one else touching it – and score against all the efforts of the entire opposing team. I have seen them do this trick away from home and witnessed the spectators rise en masse and cheer the brilliant exhibition in spite of the fact that it was being done by invading players.’
For the next three seasons, the Trenton YMCA dominated the game in New Jersey and eastern Pennsylvania by which time Fred was the team captain and unofficial coach. Despite his refinements to the game, rough play characterised basketball in those free-wheeling and largely unregulated years, with physical injuries being an all too common feature of play, both on and off the court. Not only was there brawling between players, but partisan crowds took whatever opportunities came their way to try and injure or discomfort the rival team and as a result fighting between players and spectators was not unusual. Though the YMCA had quickly lauded Naismith’s new game for promoting a useful spirit of ‘muscular Christianity’ – a healthy body breeding a healthy mind – the rough-housing and unsportsmanlike behaviour drew the Association’s displeasure and increasingly basketball teams deserted the YMCA gyms, or were ousted by outraged officials and had to find other venues to play in.
Warren Street, Trenton, with the Masonic Temple nearest the camera.
Such seems to have been the case at the Trenton YMCA. Unspecified ‘trouble in the gymnasium’, followed by a string of disagreements between the branch secretary and the YMCA team saw the basketball players shifting their base to the Masonic Temple, a large building in downtown Trenton. Here the team made use of the large reception room on the top floor, where a 12 feet high mesh fence with gates at either end was built enclosing the court. This ‘cage’ was a new innovation, built to stop the ball going out of play so readily and prevent some of the troubles caused by resultant clashes with spectators. The Trenton team were the first to employ this device and though its use eventually fell out of favour, its early employment coined the term ‘cager’ as a snappy way to refer to a basketball player, a term that is apparently still in use today.
It was in this cage that Fred Cooper and his team mates made history by playing what is presumed to be the first professional basketball game on 7 November 1896, against Brooklyn YMCA. The game had been advertised in a local paper three days earlier (another first) and provisions were made for a sizeable crowd, raised seating being built around the court. Seats were priced at 25c, standing room cost 15c. Nor would the organisers be disappointed by the turn out, ‘a large and fashionable audience’ of 700 turning up to watch.
The Trenton team came out smartly dressed in red sleeveless tops, black knickerbockers and stockings and white ankle shoes. There were seven in each team, two forwards, a centre, two side centres and two defenders. This was before the days of the tall men in basketball, all of them being average sized, Fred himself was only 5 feet, 7 inches tall. In accordance with the practice of the time, the home team supplied the referee and the visitors chose the umpire.
The game started with seven minutes of ‘fierce playing’ before Newt Bugbee, one of Trenton’s side centres scored the first goal. Fred did not disappoint either, leading the scoring by gaining six points for three baskets, while a player named Simonson scored Brooklyn’s only point with a free throw three minutes before the game finished. Trenton’s team played the full 40 minutes, while Brooklyn had one substitution. The final score was a 16-1 victory for Trenton.
Following the game, Trenton’s manager hosted a supper for both teams at the Alhambra Restaurant, where the Trenton players received their historic payment. There has been some disputing the amount actually paid to the players after the various expenses were deducted, but the accepted version of events was that quoted in Fred’s obituary in 1955. ‘All the players collected $15 each, but Fred Cooper was the captain and manager (sic) and was paid off first. Thus he became the first professional basketball player in the world. He was proud of this distinction all his life.’
Many versions of the story add that Fred as the captain was also paid a dollar more than his compatriots, which if true also made him the game’s first highest paid player. Also, the ‘professional’ status is perhaps somewhat fuzzy as he still worked as a potter; semi-professional, might be more accurate. That argument aside, it started a trend that would lead to the fully professional game seen today.
As they had with the new swift style of play and Trenton’s ‘cage’, other teams quickly followed Trenton down the professional route. This in turn led to the formation in 1898 of the first professional league, the National Basketball League, which Trenton under Fred Cooper’s captaincy promptly dominated, winning the first two NBL titles. By this time the team had been joined by Fred’s younger brother, Albert. Tall and handsome and as skilled as his brother, Al Cooper proved to be an accomplished goal scorer and easily the best player in the new league.
Despite their successes, during the first few NBL seasons, Fred was growing disillusioned with the Trenton team. His brother Al and Harry Stout, Trenton’s top scorer did not get along, while the team’s co-owners had also had a falling out. Keen for a fresh start, at the beginning of the 1900-1901 season, he quit the Trenton squad to coach a new team in nearby Burlington. The result, though, was embarrassing. Though Fred was an excellent coach, his new team lacked Trenton’s pool of of talented players, the result being that Burlington lost its first eight games before Fred gave up. He was immediately snapped up to coach the Bristol team, before going on to coach at Princeton University between 1904-1906. It was not until 1910 that Fred returned to coach the struggling Trenton Eastern Basketball League team and did so successfully, winning the EBL title the following year. He was replaced as the coach the next year, but returned to coach Trenton one more time ten years later. His last stint as a team coach was at Rider College in the 1920s.
Fred and Catherine and their eldest children Thomas and Mabel. Photo courtesy of Susan Corrigan.
Alongside his sporting career, Fred enjoyed a happy family and social life. In 1901, he had married Catherine Carr and the couple had three children. Like his siblings he was an active member of the Trenton community, becoming in time a church elder, and a member of various local and national patriotic orders and Masonic lodges. As noted earlier he had worked for many years as a sanitary-ware presser at the Enterprise Pottery, which generously allowed him time off for his coaching duties, but he quit his job in 1922, when on the strength of his sporting career, he was offered a position as a director of local sports grounds, a posting that eventually led to him becoming head of the city recreation department.
Fred Cooper died in January 1955 at the age of 80, being buried in Greenwood Cemetery, Trenton. The local paper gave him a fulsome obituary, while the National Basketball Association, heir to the early leagues that Fred and others had helped to forge, did not forget its pioneering sportsman. In February 1955, the NBA presented the city of Trenton with a bronze plaque in honour of Fred and his ground-breaking professional match, which was placed on the site of Trenton’s old Masonic Temple.
The memorial plaque to the first professional match. Photo courtesy of Grace Cooper
Reference: Robert W. Peterson, Cages to Jump Shots: Pro Basketball’s Early Years (New York, 1990) pp. 32-37. Obituary, Trenton Evening Times, 7 January 1955.
Family information courtesy of Grace Cooper and Susan Corrigan.
Standing outside of the Brampton Museum in Newcastle-under-Lyme is a large black-painted cannon, mounted on a cast-iron limber. This was one of thousands of similar pieces of war booty brought back from the Crimea, following the fall of the Russian citadel of Sevastopol in 1855. In that city the Allied armies had discovered a large ordnance depot filled with 4,000 damaged or obsolete guns and these along with many of the guns captured during the fighting were later used as ballast on the merchantmen and troopships when they were bringing the army home. The Crimean War (1854-1856), had been a horrendous and utterly pointless conflict and perhaps as part of a wider public relations exercise to calm the national anger at the lives lost and at just how badly the war had been run, these cannon were freely distributed to towns and cities around the country.
Newcastle’s cannon, weighing 2.8 tons is a 36 pounder made in 1840, and was presented to the Borough in 1857 by its then MP Samuel Christy. It was originally situated in Stubbs Walks, opposite the Orme Girl’s School, Newcastle, where it stood until 1965, when it was moved to its current location. Such was the fate of most of these retired instruments of war and in the latter half of the nineteenth century it was no unusual thing to find a large, defunct piece of Russian artillery decorating a municipal park or fronting some grand civic building anywhere in Britain. Today, though, they are not so common; time and necessity have seen many of the others scattered or scrapped over the years and such seems to have been the case with a couple of cannons that came to the Potteries, no trace of which now seems to exist.
Newcastle’s impressive Russia cannon in situ. The carriage was mass-produced at the Royal Armouries in Woolwich.
In his autobiography Past Years, Potteries-born scientist Oliver Lodge, mentioned a close encounter with a Russian cannon in his youth. Lodge recalled that at a very young age his father took him from their home in Penkhull down the steep hill to Stoke where peace celebrations marking the end of the Crimean War were taking place. A captured Russian cannon had been placed in front of the Wheatsheaf Hotel and Mr Lodge told his son to wait by the cannon until he came back for him. Looking up at the monstrous artillery piece, young Oliver wondered what they were going to do with the gun, half fearing but half hoping that they were going to fire it. However, nothing so exciting happened, instead the local dignitaries made several speeches before they all set off for lunch. Oliver’s father went with them, minus his boy, and afterwards in the evening he went home having completely forgotten about Oliver. Only after returning home and being asked by his wife where their son was did he suddenly remember and went dashing off back down the bank to find the lad still obediently standing by the gun, utterly unconcerned at being left alone for several hours after everyone else had departed.
The Victoria History of Staffordshire notes that a Russian cannon was presented to the town by W. T. Copeland in 1857 and erected opposite the Wheatsheaf Hotel in 1858, as per Lodge’s memoirs. In 1858, the Illustrated London News carried an interesting illustration of what was called Stoke-upon-Trent’s ‘Russian trophy’, along with some background information.
‘RUSSIAN TROPHY AT STOKE-UPON-TRENT.’
‘We give a representation of the Russian Trophy as mounted and in closed at Stoke-upon-Trent a few weeks ago. The gun is placed on a stone platform, as shown in the Illustration, in which the Royal arms, in Minton’s tiles, is inserted. On the stone parapet an ornamental railing of a handsome pattern is placed, and at each angle of the square of the platform a pillar in cast iron rises, to carry the wrought-iron scrollwork, which was manufactured by Mr. Haslam, of Derby, and is an excellent specimen of the old art of ironworking, now so extensively superseded by the process of casting. All the ironwork is coloured in imitation of Florentine bronze, and richly gilt in the more decorative parts of the design. The whole is surmounted by a large globe lamp, which forms the principal feature of the construction, as the erection, being placed at the junction of three streets, requires a prominent and well adapted mode of lighting. The trophy was inaugurated by Mr. Alderman Copeland, one of the members for the borough, who also defrayed the expenses connected with mounting the piece. The work was designed and carried out under Mr. Edgar, architect.’
Longton also received a gun, but even less is known about that one. There is a brief note in the Staffordshire Sentinel in 1867 that reads: ‘The same committee reported a resolution, in accordance with a suggestion from the Council, to remove the Russian cannon from the front of the Town Hall to the space within the railings at the front of the Court House… The proceedings were approved, and the recommendation adopted.’ In his Sociological History of Stoke-on-Trent, E. J. D. Warrilow includes a photograph of Longton Court House with the cannon situated behind the railings as described, but a second photo taken in 1950 shows that the gun had been removed. It was resited to Queen’s Park, Longton, where it stood in front of the clock tower. However, it has long since vanished and its current whereabouts are unknown.
Stoke’s gun was also later moved, to a site in Hill Street by the old town hall in about 1874, but what finally happened to this and Longton’s cannon is unknown. The most likely scenario is that the valuable metal was sacrificed to the war effort early in World War Two, and ironically perhaps went on to become part of a more modern arsenal.
Contrast this sad end with that of the Newcastle gun which has achieved a certain status in the area. Between 1919 to 1942, during its time in Stubb’s Walks, the cannon was joined by a World War One training tank as a companion, but the tank was sent to be scrapped during World War Two. When the Crimean gun was shifted from its original site in 1965 some feared that it too was destined to be melted down and contractors arrived to find that some of the pupils from the Orme Girl’s School had hung a notice on the gun – ‘Hands off our cannon’. They need not have worried. Today, the cannon points out over the Brampton Park, providing a striking and novel photo opportunity to visitors to the town’s museum.
Reference: Oliver Lodge, Past Years: An Autobiography (Cambridge, 1931) pp. 22-23. E. J. D. Warrillow, A Sociological History of Stoke-on-Trent, p.385, Illustrated London News, 12 June 1858, Staffordshire Sentinel, 6 July 1867, Victoria History of Staffordshire Vol. VIII., p.180.
Born in Pitts Hill, Tunstall in 1878, Elizabeth Longsdale came from a musical family, her father William was a potter, but served as the choir master at Christ Church, Tunstall, and several other family members such as her brother Wilson, would make their names locally as singers. It was Elizabeth, though, who under the alliterative stage name of Lily Lonsdale, would become the most famous, carving a notable career in the music halls of Britain and abroad.
Elizabeth started her singing career as a soloist at local concerts and enjoyed a spell with the North Stafford Amateur Operatic Society before turning professional when she joined Thomas Tomkinson’s Gypsy Children. This was a local choir turned concert party that was composed of talented children and adolescents that had gained quite a following in the Potteries. The troupe served as a training ground for several local performers who later went onto greater things, most notably Gertrude Mary Astbury who as Gertie Gitana would become one of the best know stars of the music halls. Elizabeth (now billed as ‘Lily Lonsdale’) shone just as brightly, impressing audiences with her beautiful, well-modulated voice and garnering great praise. By 1897, the troupe had moved beyond the Potteries and began touring the Midlands and Wales, performing in various venues like theatres and town halls, supported by parents and helpers who assisted with logistics and costumes.
Ernie Myers
By mid 1899, Lily now in her early 20s was getting too old for child roles, and she was also romantically involved with Ernie Myers, a comedian from the troupe. However, her initial attempts for a career shift suffered a setback. After leaving the Royal Gipsy Children, she joined a rival troupe, Leon Vint’s Globe Choir, but soon had to resign due to vocal strain. This set her at odds with Vint, who after first agreeing to let her go then changed tack and took Lily and her sister Agnes to court for breech of contract. However, once in court, the judge deemed that Vint had acted unfairly and that the contract was far too heavily-weighted in his favour and as a result he ruled in Lily and her sister’s favour and they went on their way unhindered, leaving Vint with the costs for his bully-boy behaviour. Lily made a brief return to the ranks of the Royal Gypsy Children, but following the unexpected death in late January 1900 of Thomas Tomkinson the troupe’s founder, she and Ernie decided to set out on their own, securing an agent and booking early performances on the music hall circuit; they married in Liverpool in April 1901 whilst on tour. Shortly afterwards they were put on the so-called Moss and Thornton tour, taking in a series of theatres and musical halls across Ireland, northern England and Scotland.
In 1901, Lily took a short break to have their son, Jacob William, but hard economics often meant that family life came second to their performing careers. Leaving their son with Lily’s mother, they resumed a busy schedule of public performances across Britain, building their careers. They used their stage names and normally performed separately, with Ernie as a popular ‘patter’ comedian telling amusing stories and Lily as a classical soprano singer, though occasionally she took on comedy roles in sketches opposite her husband. They shared the stage with various entertainers, including conjurors, ventriloquists, impressionists, acrobats, marksmen, puppeteers, clowns, jugglers, dancers and performing animals as well as other comedians and singers. An undoubted highlight of their careers was performing on the same bill as the famous American escapologist Harry Houdini in 1905, when he was on a tour of Britain.
The demands of travel and performing were tough; they worked six nights a week, with Lily often singing multiple songs per show, and she and Ernie were constantly in search of fresh material. During winters, they performed in pantomimes together, with Ernie playing the villain in “Aladdin” and Lily as the princess.
By 1911, their careers were going well and the couple lived comfortably in Derby with their daughter Lillian May and son Jack who were cared for by Lily’s mother. In August of that year, they were invited to perform in South Africa but returned by December. Their routine continued until 1914 when they travelled back to South Africa. Sadly, Ernie fell ill and died on the ship before reaching port, leaving Lily heartbroken and reliant on support from the theatre community in Cape Town. After Ernie’s funeral she stayed on to complete her contract, then she returned to Britain to support her family amid the challenges of the Great War.
Despite wartime difficulties, Lily found work in successful and topical revues like Mind Your Own Business and My Son Sammy, and whilst on tour the theatre company would often lay on special performances for wounded soldiers in hospitals, which proved very popular. Her career flourished through the war and after, but away from the limelight her mother’s declining health was a worry. In May 1920, Lily suffered a nervous breakdown due to exhaustion and stress, and shortly afterwards her mother passed away, leading to another break from performances.
Lily pictured in her obituary
Over the next five years, Lily remained active but by her late 40s, probably as a result of her arduous lifestyle, her health began to suffer. Her career ended suddenly in August 1928 when she collapsed on stage in Wolverhampton. Although she finished her performance, she was taken to the hospital and she never really recovered. Lily died on 2 March 1929, aged 49, at the Derbyshire Royal Infirmary. There were short obituaries to the singer in the Sentinel and in a couple of Derby papers over the next couple of days, but that was the limit of the press coverage. She was buried at Derby’s Nottingham Road Cemetery four days later.
Potted Histories 