BBC Radio recently broadcast an edition of Hancock’s Half Hour from 1959, The Poetry Society. Hancock has joined a bunch of poets, the East Cheam Cultural Progressive Society.
Hancock: “We sit on the old cardboard tombstones round the plastic coffins…and we indulge in philosophical analysis. We formulate our plans for our Brave New World; Gladys takes it down in her notebook and when she’s filled it up we’re going to publish it. We’re calling it “A Thesis on the Reconciliation of Homo-Sapiens in Relationship with his Natural Destiny and the Theory of Selective Evolution”.
Sid: What else do you do?
Hancock: Well, during the day we pursue our various artistic sidelines, some of us make pots and jugs. Then there’s Adelaide, she’s very good on the raffia-mats. Then there’s Percy and his Welsh bedspreads. Some of us paint, and sculpt…and the rest of us lie in bed, thinking.
I was amused to hear that Galton and Simpson identified the crafts with pretentious pseudo intellectuals, just after journalists had coined the term “beatnik” for the Beat with beret and goatee beard playing the bongos. Were studio potters really like that? Mick Casson, one of the founders of the recently-formed Craftsmen Potters Association, had a beard, but he was pretty straightforward and down to earth. Pottery students at Goldsmiths under Richard Dunning in the 1950s looked quite conventional (below).
But I do remember in bourgeois Stanmore in the late 1950s a couple of artists with a shop selling their jewellery and pottery, Pamela Nash and Ernest Collyer, who did look like members of the East Stanmore Cultural Progressive Society, with beard and sandals, long hair and wooden beads, whom I greatly admired, so I suppose the Hancock stereotype was based on something.