Baby it happens when you’re close to me My heart starts beating – hey a strong beat. Oh I can’t leave you alone Can’t leave you alone
I walk over the Little Orme and there you are so well behaved – trimmed topped and tailed polished window washed windswept so sub-urbane.
Nothing ever happens here or does it?
The highly popular singing duo Anne Ziegler and Webster Booth retired to a small bungalow in Penrhyn Bay.
It provided a location for an episode of Hetty Wainthropp Investigates.
Originally a small farming community, Penrhyn Bay came to rely heavily on the employment opportunities of the limestone quarry operating since the mid-19th century, and served by its own narrow gauge railway, but quarrying ceased in 1936.
However, Penrhyn Bay expanded rapidly in the 20th century to become a desirable suburb of Llandudno – my you’re a hot property.
Almost half a million pounds and counting as the ever mounting mountain of retiring and retired knock upon your over ornate uPVC doors.
So here we are, as the rain clears and the sun almost breaks – your carefully rendered and stone clad walls, not quite awash with a golden midday glow.
Just like Arnie and General McArthur I’ll be back – I shall return.
I have previously sought succour in your shady shelters, as unrelenting sheets of steel grey rain peppered the wind whipped Irish sea.
A concrete cornucopia of Californian screen block, glass, pebbledash, mosaic and crazy paving.
Municipal modernism under threat as the unstoppable force of coastal improvement lumbers on, a pantechnicon of shiny surfaces, sensitive planting, contemporary seating and laser-cut, contextually appropriate historical panels.
As Hardscape introduces a wholesome dose of CGI style medicine to the promenade
I for one will miss you all when you’re gone.
Next time I pass all this will seem as a dream, a tale told by a fool full of sand and fury signifying nothing.
This in so many senses is where it all began – my first encounter with the visual arts was through my Aunty Alice’s postcard album. Predating visits to Manchester City Art Gallery in my mid-teens, I was lost in a world of post WW1 printed ephemera, rendered less ephemeral by careful collection and collation. Sitting entranced for hours and hours absorbing the photography, text and illustration of hundreds of unseen hands.
This is North Shore Blackpool – behind the Metropole in the early 60s.
The colour is muted by the then state of the art colour reproduction, the holiday dress is constrained by the codes of the day. Light cotton frocks and wide brimmed sun hats, shirts tucked in belted slacks, sandals and shorts – purely for the pre-teens.
The focus and locus of fun is located on the prom and what better way to squander a moment or eighteen, than with a pleasurable round of crazy golf. Municipal Modernist frivolity rendered corporeal in corporation concrete, repainted annually ahead of the coming vacationers.
Domesticated Brutalism to soften the soul.
And there can be no better away to inform the awaiting world of your capricious coastal antics than a picture postcard, so playfully displayed on the corner shop carousel – 10p a pop.
Stopping to chuckle at the Bamforth’s mild mannered filth, yet finally purer of heart, opting for the purely pictorial.
Man and boy and beyond I have visited Blackpool – a day, week or fortnight here and there, the worker’s working week temporarily suspended with a week away.
Times have now changed and the new nexus is cash, all too incautiously squandered – Pleasure Beach and pub replacing the beach as the giddy stags and hens collide in an intoxicating miasma of flaming Sambuca, Carling, Carlsberg and cheap cocktails – for those too cash strapped for Ibiza.
The numbers are up – 18 times nothing is nothing – each year as I revisit, the primarily primary colour paint wears a little thinner in the thin salt air and the whining westerly wind, of the all too adjacent Irish Sea.
Overgrown and underused awaiting the kids and grown ups that forever fail to show. On one visit the sunken course had become the home of the daytime hard drinkers, they suggested we refurbish and run the course as a going concern. I declined lacking the time, will and capital for such a crazy enterprise.
Antonio Fusciardi emigrated in the 1960s in search of a better life. He opened a number of businesses in Ireland. In 1965 he met Anna Morelli at an Italian wedding and romance blossomed. The couple married and set up home in Marine Parade, Eastbourne. They worked very hard in establishing the business and attributed their success to ambition, dedication and the family.
The town of Llandudno developed from Stone Age, Bronze Age and Iron Age settlements over many hundreds of years on the slopes of the limestone headland, known to seafarers as the Great Orme and to landsmen as the Creuddyn Peninsula.
Some years later.
In 1848, Owen Williams, an architect and surveyor from Liverpool, presented landowner Lord Mostyn with plans to develop the marshlands behind Llandudno Bay as a holiday resort. These were enthusiastically pursued by Lord Mostyn. The influence of the Mostyn Estate and its agents over the years was paramount in the development of Llandudno, especially after the appointment of George Felton as surveyor and architect in 1857.
The edge of the bay is marked by concrete steps and a broad promenade, edging a pebbled beach which arcs from Orme to Orme.
Walk with me now and mark the remarkable shelters, paddling pools and bandstand screens, along with the smattering of people that people the promenade.