BBC2's The Route Masters showed us the real London: not flat-out amazing, not all-the-way terrible

Who knows the city better than a night bus driver?

Growing up and watching telly, I wasn’t held in a kung-fu grip of fascination by the city I was born in. The London on television was not that far from the real thing back in the late 1980s and early 1990s and it was not pretty. Everything looked grey and manky to my child’s eyes. I grew up in deep, dark east London – a place as unlovely as anything a city planner has ever dreamed up. I could not understand what type of great art might be born of such an unrelentingly dour environment, when the colours in artists’ palettes are reduced to only slightly different shades of grey. For me, New York and all the other shiny cities in the US that were beamed to me via the bountiful four channels (!) at my disposal were it.

The US was the land of cheerleaders, of exciting politics and courtrooms, of crazy stunts and passionately raised voices. By contrast, the London on my screen was filled with gruff East End characters, men in heavy leather jackets, their faces like grim masks. All the cop shows were steeped in depressing “realism” and the car chases were small scale, the cars knocking over carefully dressed sets of fake, wooden boxes. Men were called Terry and Razor and Dave.

The US detective shows were a glimpse into another world, full of maverick cops with a sideline in quirky little “just one more thing” habits. The everyday world of London life on London telly was just not exciting. The main problem was that it was all I had access to. You never want what you consider to be workaday, do you?

Then something changed. By the mid-to-late 1990s, between plain, old teenagehood and the not-so-plain Cool Britannia, between Britpop and SMTV Live, the internet and yet another “British invasion” of Hollywood, London reopened itself to me. It became a place to see and explore, worthy of being the subject and location of every television programme on earth.

Money poured into what had seemed like the symbol of a broken city, the Docklands, and reupholstered away the rough edges until there were steel-and-glass towers and unaffordable homes.

The London on the screen made the Tube romantic, a magical portal to a city of endless possibility. Youth TV shows such as As If assured me that adventure was right around the corner because I was young and foolish and beautiful. Hollywood portrayed London as a sleek cosmopolis, where everyone spoke only one of three very different dialects: the plummy tones of the Home Counties, broad and common Cockney or cut-glass villain. This system lacked nuance, sure, but it did the job for a long time.

These days, the London on television has evolved again and is very different from the one of my childhood. Now, it’s a marvellous mix of grit and glamour, nowhere more beautifully portrayed than on BBC2’s The Route Masters: Running London’s Roads. This documentary covers all of London – from the wealthy neighbourhoods of west London to the commuter towns of Ilford and Croydon – and shows a normally quiet but all-seeing minority, transport workers, finally breaking their silence, telling Londoners who we really are.

One recent episode, about the night-bus network, was simply excellent. “You want the right one to come in and the wrong ones do,” said the flirty but also weary and wary bus driver Duane, who was driving a bus from Brixton to the West End, about his attractive passengers. “The ones that should come over don’t.”

We met Jeff, whose life was a reminder that the things we consider permanent have a nasty habit of turning out not to be: having lost his business, he was homeless, one of the many people who use London’s night buses as a moving shelter every night. “You’re one pay cheque away,” he said with a laugh. Another driver, Tommy, had his shift interrupted by some young men causing trouble and called it into the office; his description of “a group of black guys” over the radio rubbed some of the passengers up the wrong way. One woman rolled her eyes and asked how their race was relevant – a fare dodger is a fare dodger. Tommy looked a little hurt and told the camera he wasn’t racist –his wife is black. On top of that, he’s half-Asian.

This is London, I thought. Not flat-out amazing, not all-the-way terrible. Just another city of humans, trying to get home at the end of the day.

Westminster Bridge by night. Photograph: BBC.

Bim Adewunmi writes about race, feminism and popular culture. Her blog is and you can find her on Twitter as @bimadew.

This article first appeared in the 08 July 2013 issue of the New Statesman, The world takes sides

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

...or subscribe in iTunes. We’re also on Stitcher, RSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.