London's useless cable car is still useless, getting more so every week

Boris Johnson's time as mayor has been marked by expensive vanity projects masquerading as practical transport upgrades.

East London's cable car, connecting the Greenwich peninsula with the Royal Victoria Docks, is - to the surprise of absolutely nobody - proving itself quite the failure. The latest revelation is that only four people used it as part of their commute in the week ending 19 October, according to ridership figures uncovered by Snipe London.

Taking the cable car more than five times in any week triggers a discount for those who pay with Oyster cards, but considering the cable car connects two conference centres on either side of the river it’s unsurprising that so few people find it of any use. Here’s Darryl Chamberlain of Snipe:

23,029 journeys were recorded that week – well down on the 42,463 a year previously. The sharpest drops were seen at the weekend, indicating the cable car’s novelty as a tourist attraction is fading.

Indeed, the cable car’s second busiest day that week was Thursday, with 3,521 journeys, a figure likely to have been boosted by a teachers’ strike that day. Across the week, 468 students and teachers were carried free as part of a schools’ scheme.

On top of the four regular Oyster commuters, just 18 multi-trip passes – allowing users to pay in advance for 10 journeys across a year – were sold, compared with 41 last year.

This is, of course, just for one week. It might seem unfair to look at such a small dataset and declare the whole project a failure, especially seeing as there might have been some kind of post-Olympics boost last year that is no longer present.

I’ll direct you to the work of Boris Watch, a blogger who has been doing excellent work keeping on top of the data that comes out of both Transport for London and the office of the Mayor of London. Here’s a chart he’s made of ridership data for the cable car so far in both 2012 and 2013:

It started out not-great (if you exclude the Olympics, when it provided a direct link between two venues), and from there it’s been getting worse. This is why TfL has started referring to it as a tourist destination in itself - after all, despite what the Tube Map might claim, neither end of the cable car is particularly close to either North Greenwich or Royal Victoria stations - instead of pretending any more that it's of use as a commuter link across the river.

I actually took the cable car last week, as I was heading to Royal Victoria Docks and it was on my (admittedly, unusual) route. Here's what it's like to take it, at night:

It's hard not to feel that if the cable car had been located somewhere in central or west London (that is, somewhere tourists might want to visit) instead of east London - and its views of mudflats, the Beckton Sewage Works, and yuppie apartment blocks - it might have done considerably better.

Boris' own transport projects are all in some kind of trouble, to an extent (unlike the ones, like the Overground, which he inherited from Ken Livingstone and which are exceeding all expectations). The New Bus For London is being rolled out to more routes around the capital despite being more expensive to run and, apart from aesthetically, arguably inferior on all the counts that matter (emissions, manoeuvrability, capacity) compared to the standard hybrid buses it is replacing. Boris’ attempts to sell it to Hong Kong were thwarted as the transport authorities there pointed out that its air conditioning is - as many Londoners discovered this summer - completely ineffectual. Their frequent breakdowns don't help sell them either.

Barclays Cycle Hire also seems to be in trouble, with ridership slowly declining year-on-year, which means it is unlikely to (as originally hoped) eventually cover its own operational costs. This is despite £5m sponsorship per year from Barclays. The cable car is called the Emirates Air Line on the Tube Map because Emirates was supposed to have underwritten the costs of building and running it, but a budget overrun had to be footed by the taxpayer

These are needless, frustrating expenses for TfL, which has some pressing issues to sort out elsewhere. Having to raid the budgets of things that are actually useful (like, say, the Underground) to finance boondoggles, while also dealing with a decreasing subsidy from central government, makes those inflation-busting London transport fares even harder to take.

Not a particularly spectacular view. (Photo: Getty)

Ian Steadman is a staff science and technology writer at the New Statesman. He is on Twitter as @iansteadman.

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Ariana and the Arianators: "We really are like a family"

The pop star provides her fans with a chance to express themselves joyfully - their targeting was grimly predictable.

Ariana Grande’s concert at Manchester Arena on 22 May began like any other. Children and teenagers streamed through the doors wearing pink T-shirts, rubber wristbands and animal ears (one of Grande’s signature looks). They screamed when she came on stage and they sang along with every song. It was only once the music had ended, and the 20,000-strong audience began to leave the venue, that the horror began – with a bomb detonated at the main entrance.

The show was just one date on Grande’s Dangerous Woman tour, which began in Phoenix, Arizona in February, moved across the United States and Europe, and had stops scheduled for South America, Japan, Australia and Hong Kong. (Since the Manchester attack, Grande has suspended the tour indefinitely.)

Since releasing her debut album in 2013, Grande has successfully transitioned from teen idol to fully fledged pop star (all three of her studio albums have sold over a million each) with a combination of baby-faced beauty and Mariah Carey-style, breathy vocals. Her most popular records are bubblegum pop with a Nineties R’n’B influence, a combination also expressed in her fashion choices: Nineties grunge meets pastel pinks.

She entered the limelight at 16 on the children’s TV programme Victorious, which ran on the Nickelodeon channel, pursuing her musical ambitions by performing the show’s soundtracks. Many of the young people who grew up watching her as the red-haired arts student Cat Valentine on Victorious would become fans of her pop career – or, as they call themselves, the Arianators.

As she outgrew her child-star status, Grande’s lyrics became more sexually suggestive. Recent songs such as “Side to Side” and “Everyday” are more explicit than any of her previous hits. She has repeatedly insisted that young women should be able to speak openly about sex and feel empowered, not objectified.

“Expressing sexuality in art is not an invitation for disrespect,” she tweeted in December. “We are not objects or prizes. We are QUEENS.”

Grande also has a reputation as something of a gay icon. She has advertised her records on the gay dating app Grindr, headlined shows at Pride Week in New York, and released a single and a lipstick to raise money for LGBTQ charities.

Cassy, a 19-year-old film student and fan, told me the fanbase is “made mostly of young women from 14-23, but I run into guys and non-binary fans all the time.”

“It’s pretty well known that Ariana has got a LGBTQ+ fan base. She’s so outspoken about it and that’s what draws us to her. Because she’s accepting of everyone, no matter who you are.”

Like many child actresses-turned-pop star, Grande has a fan base skewed towards the young and female: teenage and pre-teen girls are by far the majority of her most dedicated supporters. A writer on the Phoenix New Times described the typical Ariana Grande crowd as “pre-tween, tweens, teens, young gay (and fabulous) men, moms with cat ears, and multiple candidates for father of the year”. The Arianators form tight-knit groups on social media. I spoke to several over Twitter after the attack.

Arena concerts, which often have more relaxed age restrictions than nightlife venues, have long been a safe space for children, young people and teenage girls. They provide a secure place for concert-goers to dress up, experiment, play with burgeoning sexualities, dance, scream and cry: to flirt with an adult life still slightly out of reach. Glitter-streaked tears stream down the unapologetic faces of fans touched by an emotion bigger than themselves. It is appalling, if grimly predictable, to see children, teenage girls and young gay men targeted by agents of regressive ideologies for expressing themselves so joyfully. On 23 May, Isis claimed the attack.

Andréa, a 17-year-old fan from France, told me about her first experience of a Grande concert. “It was incredible,” she said. “Everyone was so kind, excited and happy. We really are like a family.”

The fans are devastated by Monday’s bombing. Thousands of messages appeared on social media to commemorate those who lost their lives. “As an Arianator,” Alexandre, aged 16, told me, “I’m really sad and I’m scared.”

“We’re all taking it really hard,” Cassy said. “We’re a family and we lost 22 members of that family last night.”

Ariana began her gig in Manchester with the song that has opened every night of her current tour: “Be Alright”. In it, she repeatedly reassures the crowd, “We’re gonna be all right.” It’s a phrase that her fans are clinging to after the attack. So, too, are the lyrics of “Better Days”, by Grande and her support act Victoria Monét, which was also performed the night of the explosion. “There’s a war right outside our window,” the words go. “I can hear the sirens . . ./I can hear the children crying . . ./I’m hoping for better days . . .”

“It’s hit us all very hard because we’ve lost some of our own,” said one Arianator who runs a popular Twitter account about the tour. “People we interacted with on a daily basis. People that just wanted to have a night of fun. These are dark times, but we are looking forward to better days.”

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

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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