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Inside Britain’s last temperance bar – the first of a new brand of boozer
An alcohol ban in pubs is under consideration, and young people are shunning drink. Is Mr Fitzpatrick s the future of our watering holes?
20 February 2021 • 5:00pm
Ashleigh Morley-Doidge, owner of Mr Fitzpatrick’s Temperance Bar
Credit: Lorne Campbell/Guzelian
During its 122-year history, Mr Fitzpatrick’s bar in Rawtenstall has endured enough crises to turn many to drink – two world wars, the Spanish Flu pandemic, and now Covid, to name but a few. But with Britain’s hospitality trade tanking and many pubs closing their doors for good, spirits are still high at Britain’s last original temperance bar, which has stood on Bank Street in the Lancashire mill town since 1899.
Some time after the restoration of King Charles II in 1660, an enterprising gentleman, his name lost to history, leased fields on the far south-western fringes of London in order to establish a tavern and beer garden.
The land was owned by Jane Vaux, a widow whose husband’s family gave the area its name. By 1732, the gardens had been through several incarnations, transformed into a world of magic, artifice and wonder.
Between May and September, thousands of Londoners converged on Vauxhall every evening, having saved a shilling for entrance, much more if they wanted to buy the exorbitantly-priced food and drink.
Featured in Salman Toor’s Cosmopolitan Queer Life
The artist s first institutional solo show at the Whitney Museum of American Art explores lives of Brown, queer subjects through a scrim of nostalgia
I don’t remember precisely when I first saw Salman Toor’s paintings but I do distinctly remember how I felt in that moment: a particular flash of recognition, a momentary illumination that results from seeing and being seen. In his scenes of the lives of queer people of colour, Toor extends this evanescent flash onto the quotidian activities of his androgynous Brown subjects, who gather for parties in cramped apartments and spend evenings at crowded bars or alone in bed. Along with Doron Langberg and Anthony Cudahy, Toor joins a cohort of queer figurative artists negotiating the history of painting and the contemporary developments that condition their subjectivity. Though Toor eschews the formal innovation of such painters as Jonathan Lyndon-Chase, rendering h