The commuter's guide to calisthenics on the go

You may be doing more exercise than you think during your daily journey into work.

At some point at the end of the week or beginning of the month, we all resolve to improve our fitness regime. For those who begin work early or have to commute, we endeavour to exercise in the morning so that the eight or ten hours we spend sat in front of computers don’t take their toll on our bodies. To endeavour is one thing, to execute is another. Exercise in the evening you say? When you reach home at 8pm and have things like laundry, cooking and tidying to do in the three hours before you have to sleep again this isn’t always possible. Sleep, for many, takes precedence over the aforementioned measures of self-improvement. This morning, I saw the journey from a different perspective - as it turns out, commuting can be quite an athletic act, requiring co-ordination of the mind, muscles and mobile phone clock. The following is based on my daily commute into London.

Reluctantly wake up at 6.45 am. You’re still a little sleep-deprived from the previous few weeks of work, and sleeping late last night doesn’t help. Have another 15 minutes in bed; you only need to leave the house at 8am.

It’s 7.30 - only half an hour to get dressed, eat breakfast and make a sandwich for lunch. Spring forth to the bathroom, grab your toothbrush and get brushing whilst simultaneously running the shower to eliminate the first 30 seconds of cold water (that would otherwise deliver a cruel slap to the face). Hop out and begin your warm-up – the “hot out of the shower dance” – a strange wriggle-walk triggered involuntarily by the horrific temperature change experienced on exiting the shower. Jump into your clothes (add a few extra minutes of indecision if you didn’t have them ready last night.) Oh dear, you still have "bed head" and only 17 minutes to eat and make lunch. Move it!

Sartorial solutions gained, time for “The Sandwich Sprint”. Grab bread and sandwich fillings from the fridge, slap both sides together and shove into a box. Stuff this in your bag/ dedicated lunch bag and run this to the front door, making sure you power off on the balls of your feet to avoid heel strike induced injuries. Right, breakfast … cereal again. Lunge towards the draining board and grab your bowl, decant cereal and milk. Don’t forget a quick sniff test before you’re unpleasantly surprised by a mouthful of sour milk and cereal. With just under a minute to spare from munching on breakfast, perform “The Breakfast Bowl Bleep Test.” Plonk your bowl next to the sink and run to the front door to catch to your lift the train station.  Don’t forget keys, wallet, train pass and "lovingly" prepared lunch.  Areas worked: soleus, gastrocnemius, quadriceps, core muscles.

The journey begins.

You’ve just reached the station at 8.09am, the  train to London Paddington has just pulled in; you have 45 seconds to board it. Get ready for “Commuter Cardio and Calisthenics Part One” in 3-2-1… GO!

Quickly seek out the 10-inch gutter space on the left hand side of the corridor. Streamlining your profile is key; shoulders back, stomach in, all bags in front of you. Slip through the mass of professionals and school goers. Nimbly jog up two flights of stairs to the platform. Lean forward to eliminate bounce and keep on the balls of your feet for maximum speed and accuracy climbing each step. Triple Jump onto the train, and peer into the carriage to spot a window seat occupied by a "considerate" commuter’s handbags. Spotted one? Lucky you! Scurry down the narrow aisle, smile sweetly at the commuter. More often than not, they’ll wearily “bum-shuffle” inwards, giving you the aisle seat. Such is the power of non-verbal communication! Sit down with your back straight and pull in your stomach muscles, commuting does not condone bad posture. Use the 40 minute journey to replenish oxygen supplies and read some news. Areas worked: Quadriceps, pectorals, deltoids, core muscles.

It’s now 8:50 and you’re at Paddington, caught in a mass of tired but wired commuters slurping the last of their morning beverages. Weave in and out of people to make it to the Bakerloo line’s ticket barriers in a manner similar to the Illinois Agility Test. There’s an added challenge, the people/cones are moving so proprioception is of paramount importance. Always look over your shoulder before changing direction, the last thing you want is to be knocked by a series of briefcase wielding wildebeests. Areas worked: Soleus, gastrocnemius, quadriceps, gluteus maximus.

Descend the escalators, twisting your torso and keeping your knees bent to balance. Bags should be held close to the abdominals functioning as an elbow shield and as kettle bells. Keep close to the inner side of the platform to reach a less crowded square foot of platform. If unable to board the first train, angrily clench your “glutes” until the next tube arrives. Areas worked: Iliopsoas (used to lift your legs up and down), quadriceps, gluteus maximus, pectorals, deltoids, core muscles.

Now begins Commuter Calisthenics Part Two– “Tube Surfing”– testing one’s ability to overcome the incessant jerks and jolts courtesy of the tube driver. Squeeze onto the crowded carriage, face the doors and assume an L-shaped stance, feet hips-width apart. Keep your knees bent, core engaged, and arms forcibly pinned to your sides. To aid balance, focus on interchanges marked out on tube maps, or on more amusing things like protruding nose hairs if you’re stuck in the middle of the carriage, uncomfortably close to the next person. Areas worked: Core muscles, gluteus maximus, gluteus minimus, quadriceps.

Twenty minutes of simulated surfing later, it’s time to change tube lines and perform a super set of lunges and kettle bell training- “Line Change Lunges!” Ascend the escalator and single flight of stairs, lean forward and use your bags as kettle bells. Don’t forget to deeply inhale plenty of stagnant tunnel air with every second stride or you may end up with a stitch! Board and prepare for round two of “Tube Surfing”- this train delivers Richter-Scale worthy rattles whilst leaving and pulling into stations, and occasionally moves in the opposite direction. “Please mind the gap between the train and the platform” as you leap off and weave your way to the exit.

Exit in sight, begin “Light-at-the-end-of-the-tunnel Lunges.” Scale two or three steps at a time as you climb three flights of stairs to the exit. Allow your glutes, calves, and quads the full range of motion to ensure a consistent rhythm till you reach the top. Areas worked: Quadriceps, gluteus maximus, soleus and gastrocnemius, core muscles, pectorals, biceps.

Pass through the ticket barriers. If someone cuts in front of you, add an extra three glute clenches, and head towards the subway to begin “Commuter’s Cool Down”. Descend the stairs, keeping each step light. Mind the tramp poo on the bottom two steps! Briskly walk through the dank corridor and head upstairs on the balls of your feet. Ignore the inefficiently bouncing gait of the commuter in front .Good form is essential. Keep your swipe card handy as you purposefully stride towards the office building. Pass through the corridor and into the lift. Check your hair, straighten your trousers and take some deep breaths.

Arrive at your desk having burnt about 150- 200 calories in a total body work-out during your hour long commute. Plough through your day with boosted circulation and prepare for round two at 6.10pm

The images featured in this article are part of a photographic project on the theme of commuting.

Blackfriars station, 9.45 am (Photo: Surabhi Khanna)
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Conjuring the ghost: the "shape-shifting, queer, violent, hippie genuis" of David Litvinoff

A new biography tracks down the elusive Kray confidant who became a friend of Mick Jagger and Keith Richards.

David Litvinoff is a mythic character to anyone with an interest in London during the Sixties. An intimate of the Krays, he was a tough and violent Jew from the East End. He was also a musical genius with an unrivalled knowledge of jazz, the blues and rock that made him a valued friend of Mick Jagger and Keith Richards. It was his ability to move from the East End to Chelsea, from the dives of Soho to Notting Hill, that was the critical factor in the extraordinary vision of London that Donald Cammell and Nicolas Roeg conjured into the film Performance, for which Litvinoff is credited as dialogue coach. And yet, even though all this is known and recorded, he remains a ghost, a figure who wrote nothing and who systematically destroyed all the records of his life he could lay his hands on. Even his exact role in Performance is shrouded in mystery. He is said to have dictated much of the script to Cammell. This biography claims that Jagger’s mesmerising song on the soundtrack, “Memo from Turner”, was in fact a memo from Litvinoff.

Multiple reports describe him as the most brilliant talker London had known since Coleridge, but although there are rumours of tapes they have always been just rumours. I’d have thought he was a figure who would defeat any biographer – a shape-shifting, queer, violent, hippie genius lost in a mist of hallucinogens – but Keiron Pim’s account of this extraordinary character is a magisterial work of scholarship. He tracks down all the living witnesses; he has also unearthed letters, and even some of those long-lost tapes.

The story that emerges is even harder to believe than the legend. Litvinoff came out of the Jewish East End but he was from one of its most talented families. His name was not even Litvinoff: his mother’s first husband went by that name but David was the son of her second, Solomon Levy. Long before he met the Krays or the Stones, he was a gossip columnist on the Daily Express, practically inventing the Chelsea set that shocked the prim Fifties. By that time he had met Lucian Freud, who painted him in an astonishing study, the working title of which was Portrait of a Jew. Litvinoff was furious when Freud exhibited it with the new description of The Procurer, and the bad blood between these two men, both of whom inhabited the drinking clubs of Soho and the Krays’ gambling joints, remained for the rest of their lives. In fact, it is Freud who comes over as the villain of the book, fingered by Pim as the man behind the most violent assault on Litvinoff: he was knocked unconscious at the door to his own flat, on the top floor, and awoke to find himself naked and tied to a chair suspended from the balcony, nose broken and head shaved bald.

I learned much from this book: a period working for Peter Rachman before he became involved with the Krays; sojourns in Wales and Australia when he was fleeing threats of violence. The big discovery for me, however, was Litvinoff’s encyclopaedic knowledge of the jazz and blues traditions that gave birth to rock’n’roll. He taught the Stones a lot but he taught Eric Clapton even more – they were both living at the Pheasantry building on the King’s Road, and Litvinoff seems to have had unlimited access to the most recherché back catalogues and the most recent unreleased recordings. The book traces, but does not comment on, a transformation from an amphetamine-fuelled hard man in the Fifties and early Sixties to the oddest of hallucinogen hippies by the Summer of Love in 1967.

But, for all Litvinoff’s knowledge, wit and gift for friendship, his tale is a tragedy. A man who could talk but couldn’t write; an out gay man long before it was acceptable, who seems never to have been at ease with his sexuality; a proud Jew without any tradition of Judaism to which he could affiliate. Above all, this was a man who lived to the full the extraordinary moment when London dreamed, in Harold Wilson’s Sixties, that class was a thing of the past. Back from Australia in the early Seventies, Litvinoff awoke again to find that it had indeed been a dream. His suicide in 1975 was cold and deliberate. He had outlived his time. 

Colin MacCabe edits Critical Quarterly

Jumpin’ Jack Flash: David Litvinoff and the Rock’n’Roll Underworld by Keiron Pim is publisyhed by Jonathan Cape (416pp, £16.99)

This article first appeared in the 25 August 2016 issue of the New Statesman, Cameron: the legacy of a loser