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Tag Archives: Toffs

Class, satire & the dark art of playing the gallery.

10 Friday Aug 2018

Posted by Thin Air Factory in Uncategorized

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1970s, Ainslie, Boris, Boudicca, BREXIT, Brideshead, Castlereagh, Chimpanzees, Class System, Dashwood, Downton Abbey, Eton College, EU, farage, Great British Public, Jacob Rees-Mogg, Leavers, Most Exotic Marigold Hotel, Nostalgia, Snobbery, Social Order, Somerset, Thatcherite, Toffs, Topper, Trinity Oxford

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At a point in history when the nuance, deft politic and human insight of a Castlereagh might come in handy – and the strong hand, fierce purpose and earthiness of a Boudicca wouldn’t go amiss; what do we have?

Jacob Rees-Mogg.

Our representative for the broad constituency of ordinary people in the UK is a comical Toff who seems to have fallen off the pages of Topper Comic (well, the 1970s version).

There is a sublime logic in this as the Brexiteers seem to have decided that, if we’re going to apply a Back to the Future strategy, 1970 seems like a good Back to start a Future from; This obviously falls far short of the idyllic late 1940s and early 1950s that some Brexiteers would rather hark back to, the zenith of our victorious pre-Windrush Post WWII Golden Age, when you could still happily and openly show prejudice against anyone you so chose while playing an Over on the Green under a Spitfire sky, eating trimmed sandwiches of fish paste and cucumber and sipping lemonade and lashings of ginger beer; all played out amidst the buzz of an endless British summer.

There are the upsides: Britain in the 70s was a crash of paisley purple and burnt orange, brilliant Bowie,  Prog rock, Punk, Disco and the chiaroscuro of British Light Entertainment: the brilliant beacons of the Two Ronnies and Morecombe & Wise peppered with the misshit social commentary of ‘Til Death Do Us Part (Alf Garnett being to the 70s what Loadsamoney was to the 80s – both caricatures being an exercise in sharp satire gone horribly wrong.)

But it was also the decade of sclerotic public services and infrastructure, lazy builders, 3 day weeks, dusty industry (why change what’s worked for 100 years), street battles between Right and Left and, of course, Maggie Thatcher, the goddess in Jacob’s temple.

So our champion – Jacob Rees-Mogg – whose first tweet was in Latin. What a knob.

One would hope that the lower echelons of the Daily Mail readership (as they choose to self identify) will welcome having a bucket of cold water poured over them and a toe swung towards their arse for good measure when they realise what’s being done to them in the name of BREXIT.

But I have a feeling they are going there willingly.

This kow-towing and fawning adulation is simply the saloon-car-driving, beige-coated, ploughman’s eating, comfortable-walking-shoe version of the chimpanzee putting their wrist up towards the alpha and bowing their head. Or arse kissing upwards to put it in coarser, more feudal terms.

Far too many of the Great British public are playing out some twisted piece of Tom Brown and Flashman theatre – and gleefully so.

It seems a large swathe of the Great British public are seemingly more than happily prepared to play ‘Jean Ainslie’ to Rees-Mogg’s ‘Graham Dashwood.’

In the film, The Most Exotic Marigold Hotel, the Jean Ainslie character is the epitome of the small-minded, deluded, disappointed and utterly class-fixated snob (a rather smarter and more polished version of Hyacinth Bucket – pronounced ‘Bouquet’ – from Keeping Up Appearances). And Graham Dashwood is the dashing, elegant, intelligent, worldly (and quietly gay) Barrister from a much higher social order.

Everything crushes into one moment where she states in a moment of professed love and adulation:

“In fact I think I’ve been looking for you for a very long time.”

There is the populist voice speaking.

Right now it seems that the Great British public are staring into Rees-Mogg’s eyes and professing much the same sentiment.

So how has Jacob conjured this whorl of feeling? What is it about him, his nature or his background that makes the masses lick upwards?

Well he ticks every box, in many more ways than Boris.

He is of good stock – but not a toff by birth. Tick.

(His father was only made a lifetime peer in 1988. So an ‘arriviste’ by old money standards. And they bought Ston Easton Park in Somerset, not inherited it. So in Alan Clark’s world view on inherited class, Rees Mogg’s family ‘bought their own furniture.’)

Jacob attended Eton and Trinity, Oxford. Tick.

Jacob made an extraordinary amount of money in Fund Trading, so he can claim the status ‘self-made man’. Tick.

But most importantly he ‘looks and sounds’ the part. Double Tick.

Jacob is the epitome of the Comic toff caricature that many over 40s grew up on. He is in that way a self-fulfilling prophecy.

Rees-Mogg realised long ago that image is everything (whilst still at school if the highly confected nature of the Eton College Collections portrait is to be believed). And presentation is nine tenths of the social law.

If you believe that people are still inherently feudal and like the idea of some Brideshead meets Downton Abbey world of ‘them in the big house up there and us down ‘ere doffing our caps’ model of social order and happiness – then you play to that gallery. Starting with your veneer.

Jacob realised the value in looking like you are from central casting’s stable of fragile toffs with a wilful streak and a stubborn self-righteousness born of an irrepressible Right of Entitlement. People look backwards at times of volatility and chaos. They seek older orders and touchstones to reassure themselves – even comic book ones. Nostalgia is a powerful opiate.

But that on its own is not enough. There is a darker, smarter judo move in Rees-Mogg that points to a very media savvy individual ‘playing the moment.’

Rees-Mogg has self-selected himself to be parodied, lampooned and satirised – he has made himself the butt of his own jokes. Genius.

This garish characterisation delivers on two counts. It makes him highly visible and discernible. And it presents him as self-deprecating – a faux proxy for humility in this case.

Everything he does presets him to ‘control’ the satire against him. (Sound familiar?)

So while Boris attracts all of the rockets with his stamping politic and straw-haired buffoonery – and Farage continues to present himself as the self-interested, small minded provincial barracker that he is (noticeably still collecting his MEP cheque and watching the World Cup from another EU subsidised bar in Brussels), Jacob slithers into every vapourous opportunity and out of anything solid or substantial with a whiff of the snake charmer wafting about his overly-combed head (brilliantine wouldn’t go amiss).

He is the quietly sneering, self-preening critic sitting in the corner seat at the dinner party, using the compound effect of his coy theatre of fragile child, his ‘blinking’ intellect and uncomfortable pauses to be eviscerating while seemingly ameliorating.

Some would venture that we get the politicians we deserve. If that is the case then the UK is generally suffering from a desperate case of ‘doffing’ – junked up on the need to be ruled by some retrograde smugness of the ‘Big House’ variety.

Thank heavens for that. There was a danger there for the briefest moment of us looking like an advanced, enlightened society with a clear understanding of the diversity of humanity that shaped us and a clear line of sight on the delicious collision of natures, skills, outlooks and open optimism we need as a nation to evolve and thrive.

But sanity prevails. And with the rise of the Rees-Moggs of this world we show ourselves for the fawning, recidivist, class-riddled, insecure ‘know your place’ society we really are.

Irritatingly I have to take my hat off to him. He knows his audience and their fragile desires intimately. He’s good. Really good.

So I’m off to buy a new cap to doff!

Hemispheres, politics & the battle between Left & Right

02 Tuesday May 2017

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Anti-liberallism, betjemen, Billy Bunter, Black Country, Casuals, Cirque, Daily Mail, farage, Fund Traders, Harry & St George, Left Wing, Lords, Mod, Normans, Purcell, Right Wing, Saxons, Serfs, Shark Tank, Suburban, The Idle Rich, The Square Mile, Toffs, Top Gear, Upper Classes, Urban., Working Classes, YBA

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There’s a Bugsy Malone splurge gun massacre of class, politics and populism going on right now.

It was there prior to St Theresa’s whistle-blow announcement. She simply stuck a rocket pack on it all.

And for those of you who haven’t noticed; creativity, culture and the arts are slap bang in the middle of it all. And they’re getting it in the neck.

The news tells us that the working classes are on the march. That BREXIT was a vote fuelled by those left behind by global capitalism and its increasingly wealthy adherents.

And that BREXIT and populism are in some way proxy wars between the Haves and Have Nots. With a smattering of Saxon (serfs) v. Norman (lords) and suburb (Farage) v. urb (Cameron).

Terry & June have raised a flag and cried for England, Harry and some Saint’s flag we bought off the Genoese.

But the papers still like to present this as the old school cap doffing boot wearing (and traditionally socialist leaning and union advocating) working class stuffing it to the Top Hatted (and Right of centre) toffs with their Bunter-esque Trunks of Tuck shop plenty and fancy ways.

If you hadn’t being paying attention (and had been totally ignoring the role of little England in all of this) Brexit was an action against the establishment by a working class constituency bereft and defeated by relentless years of other people’s plenty being rubbed in their face.

And the working class hero, uncluttered by the over blown cultural self-assertions of the rich and powerful – their hordes and their funds, treasure chests, junkets and galleries all propped up by high performance German engineering and fashion divas and a handbag costing a month’s earnings – has stepped up and bloodied their nose.

Screw Culture. It’s an affectation and luxury of the Rich.

In some reports there’s a whiff of ‘the working class hero’ (WCH) being anti-culture – well, the kind of culture trumpeted by the City and its dinner party friends. Oh, and  f.y.i. the WCH is anti the multi-culturism that the money monsters and politicians celebrate and espouse – seeing immigrants as the lackeys of the rich, working their factories and filling their low paid scuzzy jobs otherwise unfit by condition or wage for the decent indigenous WCH, either male or female.

This working class reactionary truth will be born out in France we are told.

As it is being born out in the Nordic and Germanic states. On a platform of anti-foreigner and ‘what about me?’

And these commentators apply a simple formula that seems to say that the right wing ascendency is ostensibly rooted in the disenchanted dispossessed working class.

And that the right wing ascendency is anti-liberalism (the cultural and social not financial kind) – therefore the WCH is against liberal arts and the profundity of self-enlightenment.

Therefore, the WCH despises any form of enlightenment – and would raise one dimensional variations of the same self – a clone army of book burning gallery trashing elitist toff beating brilliance – in preference to a vibrant exciting society and culture.

What utter shite.

Firstly, the Elite and the Rich are not necessarily the same. And the political shades of left and Right in both make over simplistic assignments futile. There are endless correlations and direct proofs of the connections between the Rich and Elite  BUT the Elite – those relentlessly committed to self-selecting themselves as the leading lights of anything and everything – running things for others (whether they want them to or not), generally being in charge and walking around with an unbearable smugness and self-assertion – are not always Rich or vice versa.

It’s the power they crave. The career politician is on the top branch of these ravenous creatures – with their self-selecting voice of the people (ish).

They spend a lot of time with the Rich (negotiating with Industry and Finance over over-poured Claret because they absolutely have to of course). And they are of course at best very well connected, tied together with a thin thread that unravels back either to a musty study room in a sandstone schoolhouse (for all of his ‘one of the people’ Schtick, Farage is an Ex Dulwich College boy), a university hall, or backwards into the Square Mile. And if they directly have none of these, they know someone who does.

And the Elite, well, they are different kettle of picked Shark installation altogether. Many fiercely obscure their provincialism with Elite type affiliations and experiences. They jig and jump to the drumbeats of the urbane metropolitan – the art shows, theatre nights, picnics in the classically shrouded parks, Cirque du (insert exotic name here) and of course the relentless squalling pirouetting brawl in black that is modern interpretive dance.

Some would say thank god they do. We would exist in a cultural desert otherwise – any form of creativity being reduced to the cultural equivalent of The Pub Landlord’s ‘glass of white wine for the lady’ – a slightly demeaned but humoured unit of creativity that isn’t really proper.

It’s a fair point

If our culture really was just a bastion of the Rich, the arts would be a sclerotic lumpen dross – our lives populated by the myriad stools popped out the arse end of an unfeeling industrial production line of commercial arts and the venues that host them.

But to pretend that the fierce creativity of the UK is just a Rich man’s train set to be slashed, demeaned and derided is the kind of twaddle that might be peddled by the likes of the Faragists, trapped terrified as they are in their fortress of Purcell, Lloyd Webber, Betjemen and Top Gear.

So perhaps when the political commentators and the budget watchers point accusingly at money being wasted on some art house in Camden and cheer the swingeing cuts to the arts and to sources of culture, they’re pointing their guns the wrong direction. Perhaps they think it’s the most commercial of the arts that they think they are extinguishing – by which I mean art produced in the service of the Rich by self-conscious and socially attenuated art pimps in the absence of any real feeling and tension bar status and lucre.

There is a difference.

And it is worth pointing out that the UK culture (certainly from the 50s onwards) has been a visible bastion of WCH culture and arts  – from the edgy raw playwrights of the Angry Young Men to Black Country metal heads taking over the world, to Skinhead and Mod and the Casual culture of the football terraces. The sources of WCH art energy and colour are relentless.

Locked inside all of these movements are threads and collisions of fierce feeling – the source of their potency and raw power.

Tension. Struggle. Pain. Debauch. Poverty. Frustration. Elation. Sadness. Revulsion. The feelings we feel when we are alive to the life we live – unfettered from luxury and emollient comforts. That is the stuff of art and the fuel of culture.

There was once even a whiff of this raw energy in YBA but, well, really, how many dots can one person silk screen to hang on a banker’s wall.

When someone once defined art as something that has no utility I believe that they meant something that has been created for no reason beyond the outpouring of expression demanded of the artist by something within them.

I believe that the relentless fillip of fund trader bonuses, commission monies and personal strategies for increasing wealth kill this spirit in artists. They become complicit – part of the spiritual algorithm of wealth creation.

And this makes the lie of the artist’s  expression. It becomes the social smile painted on the face of a misanthrope.

But there is a value to everything – even if it is financed by the money monsters putting on emotional lip stick by hanging someone else’s very expensively framed empathy on their walls.

We should salute the fact that the absence of feeling in either the Rich or the Elite – too consumed as they are in the pursuit of the material to the detriment of their emotional and spiritual selves – has created the desire to invest and finance struggling working class artists and elevated them up and into the limelight

The struggle to express themselves in lives riddled by attrition and want with desires and dreams close to suffocated is for me a beacon of the power of the people called the working or struggling classes.

And this is good. Far from being the murderers of the artistic darling – they are the universal mothers of them.

Centuries of artists, poets, performers and musicians from the ‘lower orders’ have enlightened every aspect of our cultural identity – all the more potent for the thick unforgiving skin their expression has had to burst through.

Yes, they are elevated on the back of the money with which the Rich buy emotion and feeling – the jewellery of a feeling expressive being – but none-the-less there is a circle of existence and creation in this that we all get to enjoy.

There is something at work here, with a sort of structure and rhythm. As one set of artists elevate up and out, others pour in and take their place.

There’s a reason for this.

Tension does not live a long life amongst comforts and plenty: the struggles that demonstrate themselves within it are the toxic nihilistic kind – locked into petty drug spirals and alcoholism and the artistic and literary caprices of the decaying elite.

The artists that enter this world on the back of great success tend to struggle to maintain their edge. It certainly struggles to transfer itself to their progeny.

There is a phrase – clogs to clogs in 3 generations – used to describe the journey from rags to riches to rags – through the ascent, apex, nadir and subsequent crash of three generations – initially climbing up on the new wealth of one particular member, vast monies made through hard work, moments of genius or simply brutal profiteering at. And the second generation raised in the immediate shadow of that person have some of the same spirit and nous in them to continue the ascent – BUT by the third generation, expensively educated far from the relentless grunt and grind of profiteering and money worship, look to different inspirations and passions – some pointless, some benevolent, some enriching but few of them money making in the same manner – they have entered the luxury of conscience freed to think of things other than climbing out of the primordial soup of want and struggle and making ends meet.

The luxury of conscience is not a hot bed of art and literature. Many luminaries have come from this world – the gentleman of letters, the learned and the scientists and the academics perhaps. But rarely does the fierce fire that creates movements and shape epochs come from this fountainhead of the Rich.

Brexit was a punk act, a swastika on the combat jacket of the forgotten and the dispossessed. I am unsurprised that John Lydon AKA Jonny Rotten came out on favour of BREXIT.

BREXIT is an emotion. Not a reason. Expressed by an epoch shaping creative force.

BREXITEERS are not anti-art. The reason-obsessed and the overly rational within their ranks might be. The sniffy, blinkered and the insecure perhaps.

And it is those that use the connection between grants and funding and private investment and the arts and the subsequent elitist enjoyment of them as a way of packaging them up with the rest of the European curse. For a very simple reason.

Creativity is a shifty foreigner to their rationally class-exacerbated perceptions. One that speaks a language they cannot master or ever wish to try.

So, when it comes to the Arts, current affairs commentators may be better served spending their time contemplating whether Right wing people are mostly Left brain people.

As with many things, this is not about politics. Or religion. Or science. Or money.

The arts, artists and their supporters are under suspicion by the cohorts of the ‘left brain’ as they find them wooly, voodoo or self-interested. They mistrust the layers and complexity. In much the same way they rarely trust foreigners whose culture and society they do not understand -or for that matter their own feelings or the right to express them.

There is no over indexing by shade of class, regionalism or faith. You are as likely to find this thinking in the working classes as you might in the rich; in the devout as the with the humanist; as much in the Northern reaches as with the Southern tribes.

So whatever else we do, my thought is this – can we unshackle the arts and creative expression from the armies of politic.

The only left and right at work here are hemispheric not politic.

Criss cross, passing ships & the escalator lives of the Social Commute

30 Saturday May 2015

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AA MIlne, Brogues, DubStep, Escalators, Fluffy Mules, Gene Pool Imperative, Hipsters, Hoxton, Identity, ley Lines, Material Girls, Medieval Royal Courts, Postcode Tourists, Robin The Frog, Shoreditch House, Sloanes, social advancement, Toffs, Trustafarioans, W11

8MartinGodwin

“Half way down the stairs is the stair where I sit.

There isn’t any other stair quite like it.

I’m not at the bottom;

I’m not at the top;

This is the stair where I always stop”

Courtesy of AA Milne & Robin The Frog

Kermit’s nephew is an inspiration for more than just folksy green-leg swinging sing-songs for small people. For anyone interested in the subtle shifts and shapes of social dynamics and advancement, the transient beauty of the place he describes is quite illuminating, being at that point between top and bottom: a moment of clarity in the space between being neither one thing nor the other.

And as the creator of this profound little ditty, the writer, AA Milne, proves how much he was in some ways far more than just a writer of children’s stories.

Outlining as he did the dynamic differences and human vibrations that exist between our grand aspirations and banal realities, the petty social jostling that pervades the space between them; and the immutable frameworks and hierarchies of life into which it all fits, he strikes me as more that social diarist and commentator.

Half way down the stairs is indeed a wonderful place: a vantage point from which to drink in the human condition and view some of life’s subtle people-powered idiosyncrasies in all their glory. Even when those stairs are of the rolling steel toothed conveyor kind.

Traveling through Shoreditch station recently I was reminded of the social ‘in through the out door’ nature of London’s slicker and more happening post-codes, especially when viewed from half way down (or up) the stairs and escalators, depending on your trajectory.

Watching the tribes of London pass like ships both in the morning as well as the night was already a quiet observer sport for me.

It was only after some time of watching though that I started to notice the fractal shades of difference between those who were commuting down the escalator and those on the up.

Both the Ups and the Downs ostensibly deliver the postcode vibe: whether that be Tech Hipsters, Money Monsters, PortoBelles, Fashionistas, Indie activists, Media Molotovs, Toff-ee Mochas, Mayfair Mules or Tattooed Love Sexys. A shared moment of complicity enacted in the fleeting criss cross at the mid point on every escalator or stair well.

Sloane Square, Shoreditch, White City, Notting Hill, Whitechapel, Brixton; these escalator moments of criss-cross spot the difference are note exclusive to one or two stations. They are legion across London (and every other thronging highly emerged metropolis on the planet for that matter). Waves of social similarity washing up and down the escalator in both directions; little to choose between them – all card carrying citizens of their particular postcode vibe.

(That Postcodes tend to attract particular types and tribes is unsurprising; and for that very reason they are able to successfully deliver and maintain their ‘vibe’ or atmosphere. Much of what orientates this ‘oneness’ remains unspoken. This points to something of the Ley Line at work in these postcodes.)

So at first glance there is little to separate those commuting either up or down these escalators on any given morning.

But look a little closer and there the similarity ends. Look closely and you will see small differences start to appear between those on the morning Down stroke and those on the Up-ward claw.

What is that? There. Barely discernible but yes, just there. That! Is that… a quiet swaggerdaccio we see in some of those who commute down and away from the postcode?

Perhaps. After all they carry with them the self assurance of being The Real Deal: no neighbourhood tourists these. They don’t work here. They live here. The pubs restaurants brasseries boutiques and cocktail bars scattered before you are their locals – firmly untouched by them in the day or for early doors drinking. That’s for the postcode tourists. This is their back yard. No drift home to some more sub–urban existence at the end of the day or last orders for them. They will never experience the burden of carrying the creeping disappointing of having ‘been there, done that, bought the ridiculously overpriced T Shirt’ with you back down into the tube tunnels like a cheap fading fragrance.

That quiet, centred and softly confident sense of belonging in the Down the Escalator Morning commuters emanates an aura that the Up The Escalator arrivistes simply cannot and will never be able to match. They remain both literally and spiritually the Upwardly Mobile in every sense of the phrase.

But up they come, day after working day (this is a Mon – Fri affair) – relentlessly, happily, expectantly; something oh so enervating about working somewhere smart or cool. And every day they get to come up that escalator and be in that postcode, is another day they managed to not get found out or set aside. They are cutting it and they’re going to enjoy every second lest it gets ripped away from them by some unseen arbiter of what constitutes being the real deal.

And every day somewhere, the Scuffing-Downs stumble tunnel-ward blissfully unaware of this tension lurking opposite them…  ish.

Perhaps a small frisson percolates through them every now and then, when they look up from their gorgeousness reflected in an oh so déshabillé, slightly beach-bruised smart phone for just long enough to remind themselves that they are going down the escalator, with the quiet luxury of knowing that they belong there; up there, in that place up the stairs behind them; written into the property and social fabric of it – rooted. They belong there even when they’re not there: so by day, the Sloane happily inhabits a dingy warehouse in E1 or the W11 Trustafarian a bland vanilla office in Acton in the full and certain knowledge that eventually she or he will return home; climb back up the escalator to ‘being’.

And with this laissez faire acceptance of the Downs place in the world comes a relaxed attitude to those who ape them to the point of genetic similarity. Mimicry is and will always be after all the most profound and absolute form of flattery; especially to those coming down from on high every morning.

So criss-cross; the moment of invisible reverberating collision – where the cultural ‘what is’ meets the social ‘what could be’.

But look again, closer still and you will reveal more layers in this social puppet theatre.

One such layer is amply provided for by the human penchant for living so far beyond our means that we need to buy a home in a different postcode to house our aspirations in.

This human truth of this scale of self-delusion and aggrandisement plays nicely into the theatrical complexity of this criss-cross escalator moment.

And in doing so points to a third ‘ type’ we haven’t mentioned yet – the cuckoos; those pretenders to the postcode throne. Yes, they obey the laws of similarity: as they should. They aspire to this demise so therefore should be respectful of its dress & styles codes. But therein lies the difference. Perhaps they are a little too over respectful? Too attentive to the detail and churn or what the postcode demands? Too vocal about what’s soooo amazing about Postcode x or y. A little too hung up on breathing in and out with every infintesimal more of belonging.

How do you spot them? With difficulty. Their rather overly self-conscious attention to postcode fashion detail can sometimes be a giveaway. But it demands a forensic knowledge of sartorial detail and minutiae and a instinct for trending.

A more illustrative litmus paper can be found hosted just behind their eyes – and on it you will find the dark reactive stain of being ‘almost’. Local -ish. But far from indigenous. Close but no cigar. And the pressure fostered by the pretence can be suffocating. Their intensity of purpose is just a little too pointed. There is an absence of Scuff & Amble in their gait. And under their demeanour behind the safety curtain of their laissez faire an arch pensiveness boils. Clinging to the edges of their Scuffing-Down life (and the over-leveraged mortgage and credit card tsunami that makes up the bulk of it). There by the grace of bonuses, the odd windfall, and an ability to juggle a comedic level of credit go they. A small desperate voice in the back of their mind relentlessly flip flopping them between the distant luxuriant basso profundo embrace of an eventual inheritance and the hysterical alto soprano anxiety fuelled by the immutable fact that their parents have no intention of dropping off this mortal coil anytime soon and those credit card statements simply wont go away.

(These are the urban silent-screamers, who other than their location, are much the same as their sub urban cousins – all shiny largesse and thriving conversation – locked firmly in the hi tensile rictus smile of their fragile success.)

Anomalies in the criss-cross world provide a couple of variants just to keep us on our toes.

There are the visiting cohabiting friend from somewhere exotic and equally zone/zip/post obsessed– staying for a couple of months – and bringing a confusing and very different zone/zip/post vibe to the daily commute.

And then there are visiting siblings. They can really throw you. They look the same, so familiar, so similar in so many ways BUT totally different post-code vibe. The academic or the soldier visiting their banker sibling. The golf club gold card local business person visiting little brother or sister in the Hoxton massive. Baby brother Uni-Boy in the Sloaney Hen House. The normal weight normal life teacher sister in the W11 cat house of eating disorders.

They can completely shift the dynamic of any morning criss cross BUT thankfully, we can broadly agree that the Ups, Downs and perhaps the Cuckoo Types are where the heat and fun is at.

The cross cross moment is also a rich source of information and illumination.

For example the mid point tension between these types of faux similarity on the escalators might remind us why we’ll continue en masse to be material girls and boys in pursuit of Kardashian flash and gold-plated everything.

As someone pointed out to me recently: find me a poor person who doesn’t want to be rich!? The gene pool imperative applies. And the smart rich person; whether escalated there from a poor beginning or born there with a clear vantage of how life is so much better up in the rare air; knows this.

The anomaly is the educated liberal academic elite in the middle, flush with intellectual riches and a sneer for anyone in any way materially driven: and unlike their asset laden, cashed up contemporaries they are profligate with their own riches, motivated to little commercial purpose: and with societal equilibrium and fairness their cause.

Rich people and poor people have no time for this ‘posturing’ as they see it: life is simple.

One is either super rich – counting in BNs – loaded £50M and up – minted £10M+ up – Rich – £5M-ish – or comfortable – the euphemism for being worth £1M+ or more.

Or you’re stiflingly poor. And always just one scratch card away from £1M or a lottery ball away from £26 M and a bloody good life (familial and social consequences of staggering wealth aside).

And a huge pointer to what you’ve achieved or been handed and your subsequent position in life lies in the post codes you both live work and hang out in

For the ordinary people in between, happiness lies in the grey middle ground of ‘almost’. The space between Not Being and Being someone who belongs in that postcode and all it purveys.

Most  in-betweenies (whether they choose or care to admit it or not) would like the chance to aspire: to hang out with the big dogs, the cool kids, the upper echelons. Every now and then they want to lounge where the money is and bask in the reflected glory of what its like to be someone who actually lives in the postcodes that the stations serve: to feel  ‘happening’: ‘minted’; ‘in flow’.

People want to be part of those post codes that house who they wish to be, even if just for a moment; even if just to spend 8 hours a working day creating a seismic atmospheric tipping point by spraying fragrance at already terribly over cologned passing shoppers in Selfridges before returning to Sutton on the 6.35.

Some of our political parties are in fact the living constitutional embodiment of that right to aspire – by fiercely conserving and protecting the sanctity and very existence of those individuals that so many of us are so desperately trying to stand in the shadow of, even if just for a moment. The Medieval Royal Courts positively thrived on this desperate need to be part of the elite: and the large number of crimes of acquisition used to fill their coffers and expand their lands and the crimes against humanity that usually accompanied them remained more than adequately fuelled by aspirational types and their preparedness to do anything to court the favour of their ‘betters’.

So it comes as no surprise that if there was one thing that many of us would love to sustain, to make last forever; it’s those moments where we are in the thrall of and breathing the same air as the powerful. The only downside one might point to is that in those moments alongside the passing glitter of ‘being’, is the crouching genesis of disingenuous identity, delusional social affectation, crippling personal debt, cheap money, living beyond ones means, profligate waste and a self confident disregard for those less better off than ourselves.

Don’t look down the human condition says to itself. I’m not going back down there. It took me a bloody age to get just half way up the stairs. I’m looking up, to the point were Ill need a neck brace. I’m commuting up into the demise of glory and a better life.

But the fragility of it all is hard to deny.

All that social ‘shimmer, glimmer and glitter’ fades all too quickly after leaving the cocktail bar on Sloane Street to catch the tube back to Finchley or Tooting.

The ageing taste of that last Shoreditch House mojito takes on a less ‘happening’ tang as the Overground wends its way to Highbury.

And that slamming DubStep club night that got you so pumped up fades into the distance when you have to trawl back up the Piccadilly line to Cockfosters.

Perhaps. though therein lies its greatest attraction – its fragility and fleeting brilliance. A precious volatility; such that it all might burst into flames at the drop of a well-turned fashionista hat. Perhaps that is what makes it so delicious. And sordid. And gratifying.

So what they hey!

For a moment, in the prism refraction of the brightly lit morning commute – half way down the stairs; clutching your over priced cappufrappocrappachai-ccino, sling backs or sockless brogues clacking, at a point neither up nor down; not at the bottom and not at the top: for that golden moment everything stops: and you belong: you are one with the ‘vibe’. And life is beautiful.

So postcode anyone?

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