Hot tubs selling like hot cakes. Photo: BBC/The Apprentice
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Flatcap handbags, folding wellies, and Derek: The Apprentice blog series 10, episode 8

The teams are let loose in Somerset to explore the "rural market".

WARNING: This blog is for people watching The Apprentice. Contains spoilers!

Read the episode 7 blog here.

It’s taken eight whole smog-addled weeks for the candidates to be hoisted out of the urban sprawl and onto virgin countryside terrain, but we got there eventually. Granted, they’ve meandered to Kent and had a little canal trip through Oxford in recent weeks, but we haven’t yet had the pleasure of seeing our sad suited automatons looking incongruous in the real English wilderness. A glaring oversight, considering the importance of the “rural market”, which is what this week is all about.

“You’ll be selling – products,” Lord Sugar informs the candidates, by way of explaining what exactly the “rural market” is. Weighing then heartily slaughtering pigs and selling bloated marrows sporting comedy rosettes is what comes to mind, and it turns out this isn’t actually that far from the truth, as the teams are sent to get their burnished winklepickers grubby at an agricultural show.

The Royal Bath and West Show is quite different from the eaves of steel spires the bored camera so often grazes as we are wafted over the City and Canary Wharf seven times per episode. Instead of the Shard slicing London’s charcoal skies, Somerset has a small sheep pushing its head through a gap in a clammy marquee. Rather than swarms of commuters clicking across Millennium Bridge, here we have some ruddy Morris dancers, skipping around a meaty herd of tug-of-warriors, all wiry fur and cricket-ball knees. When they arrive, the candidates look like they’ve each swallowed a gallon of Octi-Kleen.

Faces of fury. Photo: BBC/The Apprentice

But before they're let loose at the fair to be watched scornfully by parading heifers, the teams have to choose the products they will sell to the people of Somerset. Felipe – reciting, “logistics, tactics, organisation” – takes Tenacity’s reins, and James – “I fancy it; I’ll put my balls on the line” – is in the saddle for Summit.

Then a few from each team go to a showroom of pointless rural accoutrements and pretend to understand the value of the products. “It’s so quirky, I absolutely love it, it’s so different,” gushes Felipe about a tweed “flatcap handbag”, which sounds like the tabloid label for some sort of class-defying tax George Osborne would accidentally introduce. Felipe and Mark buy a batch without negotiating. In the sales world, we call this “shopping”.

On the other team, Solomon and Sanjay decide upon bicycle trailer attachments for carrying children, and pet finders for, well, finding pets. Ignoring his teammates’ advice, James overrules them and goes for foldable wellies (useful when packing a suitcase for a swamp holiday) and hanging garden chairs (useful for the 1970s) instead. “To me, that’s really bad,” is Solomon’s enraged battlecry.

They also have to choose some “big ticket items” (ie. “expensive stuff”) to go with the tat from the showroom. This is one of the tensest moments of the whole series, as each team battles to win the right to sell hot tubs to those raunchy country folk who have a spare £4000 to fork out at a moment's notice for a steamy outdoor group experience.

But first, Daniel barrels through trying to convince a bemused barbeque seller that “we’re infected by it; we feel the passion” and after being warned by Katie that he was “a bit intense”, tones it down for the hot tub man. “We’ll be making sure people leave with a smile,” he grimaces.

James then has a try for the hot tubs, shaking hands with the retailer, Anthony, assuring him that he likes the product: “Derek, Derek I do”, he cries, like a doomed bride.

Needless to say, Anthony doesn’t like being called Derek, so he jilts James and goes for Team Tenacity instead.

Cross country candidates. Photo: BBC/The Apprentice

There follows a scene of such abhorrent childish obstinacy from James that you almost drop your already-wavering wry disdain for the Apprentice for pure, all-out hatred of the bloody thing.

James wants to lie to the rest of his team and tell them he decided against selling hot tubs in favour of lawnmowers (I know, a mad decision at a rural fair where none of the punters star in MTV). “My advice would be to tell the truth,” says Roisin in measured, if incredulous, tones. “It’s what I want,” James sneers, mowing her down with his lawn of lies.

But if James appears a little tetchy this week, he is nothing in comparison to Daniel. Felipe innocently blinks that he and Daniel will attempt to shift the handbags. Predictably, the latter is furious – he wore his best shiny aubergine shirt for the uniquely sleazy opportunity to sell hot tubs, which would now be Katie and Mark’s responsibility. “It’s whoever got into his brain first,” he seethes, his neck pulsating with bile, when Felipe's beleagured brain makes the controversial decision.

Once the selling begins, we see Sanjay, in vain, telling kindly country biddies they look “fabulous” in foldable wellies, Roisin softly-softly selling lawnmowers while James scowls on, Solomon stroking “about 10 dogs”, and Mark’s breathtaking whoop-swallowing pokerface when a customer casually suggests he’ll buy seven hot tubs.

Customers going cold on the hot tub. Photo: BBC/The Apprentice

The boardroom, or “bearpit of sexism” as I think we can safely label it this series, sees Lord Sugar mocking the men of Team Tenacity for taking instruction from Katie. “You called up mum and asked her what to do?” he taunts. “Mummy calmed you down a little bit?” Let’s hope the business plan Katie submits to Sugar is for opening a crèche, otherwise he might be really confused.

There is also yet another male genitalia innuendo, which I really can’t be bothered to report here, because it was a real flop (eh? EH BOYS?), followed by Felipe asserting “I am not going to change from being a nice man”, Nick Hewer unaccountably calling Sanjay “nameless” in chilling tones, and James still insisting, as he has done for weeks, “I’m hungry for this.” For God’s sake, someone take the man to Bridge Café and buy him a sandwich.

And of course, that is where he ends up, as Team Summit loses to Mark’s mass-trade of hot tubs. “I called the guy Derek twice instead of Anthony,” is James’ mea culpa, as the boardroom’s straight-faced artifice dissolves completely into giggles. He is, inevitably, fired. Still, at least he can get something to eat now.

James is really starving. Photo: BBC/The Apprentice

Candidates to watch

Sanjay

“You’ve worked in banking all your life. You only sold three pairs of foldable wellies,” may be his epitaph.

Daniel

His clenched jaw won’t survive much longer without actually locking.

Roisin

Calm, professional, and super-smoothly Irish, is she too similar to the last series’ winner Dr Leah to last the process?

 

I'll be blogging The Apprentice each week. Click here to follow it. Read my blog on the previous episode here. The show will air weekly on Wednesday evenings at 9pm on BBC One. Check back for the next instalments every Thursday morning.

Anoosh Chakelian is deputy web editor at the New Statesman.

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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