The rising cost of repairs, combined with ‘a desire to progress’ with the regeneration of Droylsden town centre and the inaccessibility of the library’s T shape, three-floor configuration means that a ‘solution for the future of the library’ is now needed, according to the town hall.
In my memory of days long gone by, I call to mind the stops strewn around St Michael’s Square – all points east I assume, Stalybridge, Mossley, Micklehurst, Dukinfield, Glossop and beyond.
Prior to 1963, Ashton-under-Lyne’s buses and trolleybuses stopped at a variety of termini throughout the town centre. Manchester Corporation services called at Bow Street and Old Square, by Yates’ Wine Lodge; Ashton-under-Lyne Corporation’s buses opted for Market Street and Wellington Road by the town hall.
Ashton zooms forward into the future, its flat-roofed modern facilities complemented by ranks of low-level shelters and edged to the east by a walled lawn and flower bed – where we all loved to sit of a sunny day.
And the under the cover of the canopy at night, ready for the time of your life, at the Birdcage, pub or pictures.
I remember the kiosk on the corner, a jewellers around the other corner.
I’ll meet you under the clock.
Photo: Ron Stubley
Here we see that the original shelters have been replaced and realigned.
Temporary Queensbury shelters were put in place prior to the addition of GMPTE’s standard shelters, seen in Stockport and Oldham bus stations. By the close of 1983, the recognisable GMPTE ones emerged. The cover at the precinct end was later glazed and became stands A to C.
The second version of Ashton-under-Lyne’s bus station opened on the 18 March 1985. After two and a half years refurbishment work, it was opened at 11.30 by Councillor Geoffrey Brierley.
And that’s the corner where we would deck off the open backed buses, hitting the pavement at speed.
That’s the deep blue and cream Ashton livery later superseded by SELNEC, GMPTE and TFGM – the wonderful full fare, unfair world of Margaret Hilda Thatcher’s privatisation, Arriva, First and Stagecoach first.
Then in the 1995 with the development of the Arcades Shopping centre, the whole site is reconfigured, now seen nestling in the shadow of the Dustbin.
Though as we know, nothing lasts forever and the shelters, passengers and buses get shunted and rebuilt yet again,
I recalled the 2016 season Sky Football promotional film, it had featured a street in Ashton under Lyne, it had featured Hamilton Street.
A street spanning the West End and the Ryecroft areas of the town, the town where I had lived for most of my teenage years. The town where my Mam was born and raised in nearby Hill Street, nearby West End Park where my Grandad I had worked, nearby Ashton Moss and Guide Bridge.
This is an area familiar to me, which became the convergent point of a variety of ideas and images, mediated in part by the mighty Murdoch Empire.
Here was the coming together of coal and cotton, an influx of population leaving the fields for pastures new.
In the film, Leytonstone London born David Beckham is seen running down the snow covered northern street.
A credit to our emergent mechanical snow generation industry.
According to snowmakers.com, it takes 74,600 gallons of water to cover a 200 by 200-foot plot with 6 inches of snow.Climate change is cutting snow seasons short, we make snow to compensate, more energy is spent making snow, more coal is burned, more CO2 is released.
It is to be noted that locally there has been a marked decline in snowfall in recent years, the Frozen North possibly a thing of the past.
The temperatures around the UK and Europe have actually got warmer over the last few decades, although when you are out de-icing your car it may not actually feel as though it has. Whilst this can not be directly link to climate change, it is fair to assume that climate change is playing a part.
It is also to be noted that Sky Supremo Rupert Murdoch has described himself as a climate change “sceptic”.
Appearing arms raised outside of the home of a family clustered around the television, in their front room.
Filming the ad was great and the finished piece is a really clever way of showing that you never know what might happen in football, I always enjoy working with Sky Sports and I’m proud to be associated with their football coverage.
Illustrative of a time when sport and local industry went hand in glove.
The National Ground was subsequently taken over by Curzon Ashton who have since moved to the Tameside Stadium.
Ashton & Hyde Village Hotels occupy the front of shirt sponsors spot on our new blue and white home shirt, while Seed of Speed, our official conditioning partners, feature on the arm, and Minuteman Press occupy the back of the shirt. Meanwhile, Regional Steels UK Ltd. are the front of shirt sponsors on our new pink and black away kit.
Illustrative of a time when sport and local industry continue to work hand in glove.
Local lad Gordon Alexander Taylor OBE is a former professional footballer. He has been chief executive of the English footballers’ trades union, the Professional Footballers’ Association, since 1981. He is reputed to be the highest paid union official in the world.
His mobile phone messages were allegedly hacked by a private investigator employed by the News of the World newspaper. The Guardian reported that News International paid Taylor £700,000 in legal costs and damages in exchange for a confidentiality agreement barring him from speaking about the case.
News International is owned by our old pal Rupert Murdoch, the News of the World no longer exists.
The view of Hamilton Street closely mirrors LS Lowry’sStreet Scene Pendlebury – the mill looming large over the fierce perspective of the roadway. The importance of Lowry’s role in constructing a popular image of the North cannot be overestimated.
He finds a grim beauty in his views of red facades, black smoke and figures in white, snowy emptiness. He is a modern primitive, an industrial Rousseau, whose way of seeing is perhaps the only one that could do justice to the way places like Salford looked in the factory age.
For many years cosmopolitan London turned its back on Lowry, finally relenting with a one man show at the Tate in 2013 – I noted on the day of my visit, that the attendant shop stocked flat caps, mufflers and bottled beer, they seemed to have drawn the line at inflatable whippets.
Drawing upon other artists’s work, in a continuous search for ways to depict the unlovely facts of the city’s edges and the landscape made by industrialisation.
But Murdoch’s Hamilton Street is as much a construct as Lowry’s – the snow an expensive technical coating, Mr Beckham a CGI apparition. Our contemporary visual culture is littered with digital detritus, saving time and money, conjuring up cars, kids and footballers at will.
An illusion within an illusion of an illusory North.
Green screen chroma keyed onto the grey tableau.
Mr Beckham himself can also be seen as a media construct, for many years representing that most Northern of institutions Manchester United – itself yet another product of image manipulation, its tragic post-Munich aura encircling the planet, with an expensive Empire Made, red and white scarf of cultural imperialism.
David’s parents were fanatical Manchester United supporters who frequently travelled 200 miles to Old Trafford from London to attend the team’s home matches, he inherited his parents’ love of Manchester United, and his main sporting passion was football.
Mr B’s mentor was of course former Govan convener – Mr A Ferguson, who headed south to find his new Northern home, creating and then destroying the lad’s career, allegedly by means of boot and hairdryer.
Here we have the traditional Northern Alpha Male challenged by the emergent Metrosexual culture, celebrity fragrances, posh partner, tattooed torso, and skin conditioner endorsements.
It is to be noted that the wealth of the region, in part created by the shoemaking and electrical industries, have long since ceased to flourish, though still trading, PIFCO no longer has a local base.
The forces of free market monopoly capitalism have made football and its attendant personalities global commodities, and manufacturing by and large, merely a fanciful folk memory.
Hamilton Street would have provided substantial homes to workers at the Ryecroft Cotton Mills.
Ryecroft Mill, built in 1837,was the second of a series of four mills built on the site, the first was built in 1834. In 1843, over 10,000 people were employed in Ashton’s cotton mills – today there are none.
This industrial growth was far from painless and Ashton along with other Tameside towns, worked long and hard in order to build the Chartist Movement, fighting to establish better working conditions for all.
The tradition of political and religious non-conformity runs wide and deep here, the oft overlooked history of Northern character and culture.
Textile production ceased in the 1970s and the mill is now home to Ryecroft Foods, a subsidiary of Weetabix.
Ashton like many of Manchester’s satellite towns created enormous wealth during the Nineteenth and Twentieth centuries. The workers of Ashton saw little of that wealth, the social and economic void left by the rapid exodus of the cotton industry to the Far East, is still waiting to be filled, in these so called left behind towns.
Here is a landscape nestled in the foot of the Pennines, struggling to escape its past and define a future.
Fairfield is a suburb of Droylsden in Tameside, Greater Manchester, England. Historically in Lancashire, it is just south of the Ashton Canal on the A635 road. In the 19th century, it was described as “a seat of cotton manufacture”. W. M. Christy and Sons established a mill that produced the first woven towels in England at Fairfield Mill.
Fairfield is the location of Fairfield High School for Girls and Fairfield railway station.
The community has been home to members of the Moravian Church for many years after Fairfield Moravian Church and Moravian Settlement were established in 1783.
Also the merchant banker and art collector Robin Benson (1850–1929).
Charles Hindley 1796 – 1857 was an English cotton mill-owner and radical politician the first Moravian to be elected as an MP.
Turning into Fairfield Avenue from Ashton Old Road you’ll find Broadway sitting prettily on your right hand side. It was intended to be an extensive Garden Village but was abandoned at the outbreak of the First World War. The estate consists of 39 houses, built between 1914 and 1920 in a neo-Georgian style. These are a mixture of detached, semi-detached and terraces in a range of sizes.
Broadway is a small scale example of a garden suburb development and is composed of a mixture of detached, semi detached and terraced houses ranging in size and built in a reddish-orange brick with dark brick dressing and patterning. The properties appear to be generously proportioned and they share similarities in design and construction and a unifying scheme of decoration.
It issuggested that the ‘imaginative exploitation of the levels and texture suggest that Woods was responsible for the layout, but the chaste Neo-Georgian character of the houses undoubtedly reflects the taste of Sellers’.
Sneaking through the alley – lined with a Yorkshire Stone fence you enter the Moravian Settlement.
The Unitas Fratrum or Moravian Church is an international Protestant Christian group which originated from the followers of Jan Hus in Bohemia (now part of the Czech Republic) during the 15th century. As a result of persecution, the group eventually re-established itself in Saxony in the early 18th century, and it is from there that followers first came to this country in the 1730s, with the intention to go on to carry out missionary work in America and the Caribbean. A decision was taken to establish the first Moravian Settlement in England at Fulneck in Yorkshire in 1744. The first Moravian settlement to be located in Tameside was in Dukinfield during the 1740s. It was there that they laid the foundation stone for their chapel at the top of Old Road in May 1751. By 1783, 40 years after their first arrival in Tameside, the lease on their land at Dukinfield expired, and negotiations for a new one proved difficult. This resulted in the purchase and removal of the community to a 54 acres site at Broad Oak Farm in Droylsden where they established a new settlement known as Fairfield.
As well as providing domestic accommodation, the buildings at Fairfield had industrial functions. During the late 18th and 19th centuries the Settlement would have been a hive of religious and industrial activity, which included the church, schools, domestic dwellings, inn, shop, bakery, laundry, farm, fire engine, night-watchman, inspector of weights and measures, an overseer of roads, physician, as well as handloom weaving and embroidery.
I’ve cycled by here for some fifty years or more – always admiring its serrated roof.
Way back when we would roam around on our bikes, exploring the waste ground adjacent to Jackson’s Brickworks.
Where we would scavenge tape from the Rotunda tip.
I remember it as a Remploy Centre.
My last 13 years prior to retirement last May were spent at the centre, on Windmill Lane, Denton. Just before I left, a lot of demolition work was done, prior to redevelopment of much of the site.
I seem to remember the place always being referred to locally as Th’ Rehab – the Rehabilitation Centre, a Government training centre, where skills were taught, such as joinery, bricklaying etc, and there was also a Remploy Unit housed there.
Local men could go for a free haircut, administered by a well supervised trainee.
Proximity to the M60, seen here under construction is paramount to its future success.
This former production plant for concrete components is now sadly partitioned and houses a number of businesses, only one of which still has a manufacturing base. The engineer for the project was also the client; reinforced concrete engineers, Matthews & Mumby. The intention was to create large floor areas, free from columns, to accommodate fourteen casting beds of about fifty metres in length. The structure of the two sheds was formed from arch units assembled on the ground, jacked into position and post-tensioned to form large tied span arches. Each arch spans approximately thirty metres and was designed to carry up to fourteen one tonne loads along the monorail hangers that ran the length of the factory, centred to each casting bed and suspended from the arches. Lantern section glazing hugs the curve of the arches that act as a reflective surface to provide an even light across the factory floor. The rails and hangers added a further louvered filter to the light, described at the time as ‘the ‘venetian blind’ effect. Originally the elevation between the V shaped columns was also glazed, this has now been filled and significantly reduces the aesthetic presence of the exposed structure and a distinctly ‘modern’ building of the time.
Though remnants remain – this is a short journey through a hole in fence, down into the warren of power station offices past.
They have been stripped of their former use and meaning, transformed into a transitory art performance space, paint and plaster now peeling, appealing to the passing painter, partially reclaimed by nature.
We live in strange and troubled times, the urban landscapes we have created are often far from convivial.
Deserts possess a particular magic, since they have exhausted their own futures, and are thus free of time. Anything erected there, a city, a pyramid, a motel, stands outside time. It’s no coincidence that religious leaders emerge from the desert. Modern shopping malls have much the same function. A future Rimbaud, Van Gogh or Adolf Hitler will emerge from their timeless wastes.
This was planned to be the Verona Cinema, a project of local builders – P Hamer Verona Cinema Ltd. The construction of the cinema was almost completed when Hamer sold the building to Oscar Deutsch and it opened as one of his Odeon theatres.
Hamer then used the proceeds of the sale to build the Roxy Cinema Holinwood, which was designed by Drury & Gomersall.
Opening date of the Odeon Theatre was 29th June 1936, when the first programme was Bing Crosby in “Anything Goes” and Harold Lloyd in “The Milky Way”. Designed by the noted cinema architectural firm of Drury & Gomersall, the frontage had a neat entrance in brick, with white stone facings on the window surrounds. There was a parade of shop units on each side of the entrance which had matching brickwork and a white stone trim.
Inside the auditorium the seating was arranged for 834 in the stalls and 330 in the circle. The side splay walls on each side of the proscenium was decorated in wide horizontal bands, and topped with a backlit illuminated grille.
The Odeon was closed by the Rank Organisation on 11th March 1961 with Kenneth More in “Man in the Moon”.
It was converted into St. Paul’s Roman Catholic Church. Former cinemas have made good conversions to churches and the fabric of the buildings are generally respected. In this case though, the sad story is that the front entrance has been rendered over and inside all details of it cinematic past have been erased. You would never know you were inside what had been been an Art Deco styled building.