YUPPIES OUT! Living on the front line of gentrification in Brixton

On Monday hard-hatted bailiffs evicted 70 squatters from six Victorian mansion blocks on Rushcroft Road: my road. Is this really the price that must be paid for low crime rates and organic bread?

It was a Monday morning. It started not with a knock but with a battering ram: the crash of the bailiffs claiming their prizes.

There were crowds of them, hard-hatted, here to evict more than 70 squatters from six Victorian mansion blocks along Rushcroft Road: my road. Some had been living in the buildings for decades - quietly, their windows shrouded with sheets. We barely knew they were there.

The local authority, Lambeth Council, has plans to sell the buildings to developers for an estimated £5.5m - half of them earmarked for affordable housing - and for that, it needs them empty.

But the forced evictions became a flashpoint in a community that has changed almost beyond recognition in the last five years. Locals gathered in the street, catcalling as the first of the residents were bundled through the doors. Bins were set alight, windows broken, walls spraypainted. "YUPPIES OUT," they spelled out, one letter at a time. Then "BURN THE BAILIFFS".

It was a startling scene in an area now more commonly noted for its independent shops, the covered market, an art deco lido. There are pop-up restaurants and a Zaha Hadid-designed academy school, and it is regularly described in the property press as 'up and coming' or 'on the way up' or with other terms of bouyancy.

It is a poster-child for urban regeneration, much transformed - on the surface at least - since the troubled times of the eighties, when an alienated populace rioted in the streets and the nineties, when the name "Brixton" became synonymous with drug and gun crime. Certainly it is almost unrecognisable from the Brixton of even five years ago.

When I first moved here I was permanently penniless, a part-time photocopier with ink-stained hands. I found a room in the loft of a grand old house on Brixton Hill, sharing the kitchen with a friend and three invisible bachelors who kept to themselves. It was fun, lively, but best of all cheap.

Nightclubs were accessed through chicken shops, evangelists thronged the streets with their loudspeakers, the church yard functioned as an all-night social club for the down and out or simply insomniac. Once a man in a HMP Brixton jumpsuit politely requested that he accompany me to the nearest cashpoint ("What?" I asked, confused. Then when I realised I was being mugged, very gently: "Oh, no, thank you." He did not press the issue).

Since then Brixton's rise has been gathering momentum, overtaking me even as I clamber up my own career ladder. Take out shops closed, to be replaced by organic bread shops and wine merchants. Around the corner, a vegan cupcake shop.

It has not been a comfortable transition. Many feel alienated in an area they have lived for decades as the community identity is drowned out by this new concept of what Brixton is and means.

Inevitably, prices have risen. The average Brixton property now sells for £430,000 - up 25 per cent in a year, according to estate agents. Locals are displaced by the professionals, the monied, the university educated - pushed further from the centre or forced to work longer hours to keep their homes.

Meanwhile, pawnbrokers are springing up almost as quickly as the cafes: Sell your gold! Instant cash! Loans in minutes! Lambeth Council's housing list is now so overstretched it has suggested it could rehome homeless families 75 miles away in Margate, quite literally bussing the poorest out of the borough.

Bubbling resentments such as these can build up. Pressure releases in unexpected ways. Earlier this month, a bailiff was shot and seriously injured while attempting to evict a former nightclub bouncer from his home.

When Foxtons, the estate agents, opened on the high street in March, it was targetted by vandals. "YUCK," they wrote across the plate glass facade. And "YUPPIES OUT" again, the most common refrain. It became a symbol of gentrification - the 'Hoxton-isation' of Brixton, as the local blogs call it - and was forced to hire in bouncers. Last night a police van was parked outside the office, just in case the anger spread from Rushcroft Road across the square and through the windows.

This community which was so proudly inclusive and multicultural now feels uncomfortably stitched together. And never more so than today, as heavy set men affix metal shutters across the windows of my neighbours on both sides.

Like it or not, I was one of the yuppies that moved in. Our own block was squatted until 2003 when it was sold to a private developer, my landlord. My flatmates and I are conflicted: we miss old Brixton. But didn't we help form new Brixton, spending our money in the new shops, drinking in the pop up bars. And isn't crime lower, isn't the coffee better?

In any case, I'm moving out. I spend the night of the evictions packing my belongings into a borrowed car, uncomfortably aware of the contrast of my shuttling up and down the stairs with my bags and books as on all sides the contents of the squats are dumped unceremoniously from the windows onto the street below.

It's late night by the time I finish. Outside it is still hot, humid - sultry as a Tennessee Williams novel - and the sky is streaked red and pink. Some would call it sunset; others, sunrise.

Delicious but deadly? The upmarket end of Brixton market - Brixton Village. Photograph: Getty Images.

Cal Flyn is a freelance journalist, who writes for the Sunday Times, New Statesman and others. Find more of her work at www.calflyn.com and her Twitter handle is @calflyn.

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Want your team to succeed? Try taking a step back

From the boardroom to the sports ground, managers need to step back for creativity to thrive.

Everyone is in favour of creativity, usually at the expense of creative people. The concept is in perpetual boom. Give us creative midfielders, creative leadership, creative solutions, creative energy. It’s with the “how” that the problems start – with extra meetings and meddling, over-analysis and prescriptiveness, whiteboards and flow charts. Professional systems rarely support the creativity that they allegedly seek. The creativity industry system is at odds with its stated goals.

The novel was an early casualty. Nothing makes me close a book more quickly and finally than the creeping realisation that the author is following a narrative map purchased on an American creative writing course. Life is too short for competent novels. The creativity industry pulls up the worst while dragging down the best.

Something similar happens inside professional sport, even though creativity is so obviously linked to performance and profit. Yet sport, especially English sport, has suffered from excessive managerialism. Perhaps guilt about English sport’s amateur legacy gave “professionalism” free rein, however pedestrian its form.

Here is sport’s problem with creativity: professional systems crave control, but creativity relies on escaping control. If an attacking player doesn’t know what he is going to do next, what chance does the defender have?

So when truly unexpected moments do happen, they take on a special lustre. This month, Olivier Giroud scored an unforgettable goal for Arsenal. Bearing down on the goal, he was already launched in mid-air when he realised that the cross was well behind him. With his body far ahead of his feet, Giroud clipped the ball to the top corner of the net with the outside of his left ankle – a so-called scorpion kick.

It was, in retrospect, the only option available to him. Football, for a moment, touched the arts – not only beautiful, but also complete. Nothing could have been added or taken away.

I once tried to compare the perfect cricket shot to Robert Frost’s celebrated description of writing a poem: “It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification . . . Like a piece of ice on a hot stove the poem must ride on its own melting.”

A great goal, however, fits that poetic model better than a cricket shot. Cricket shots come in many aesthetic grades, but they are all intended as shots. A goal, on the other hand, is more than just a very good pass, only better. There is an act of transformation within the event.

Frost’s acknowledgment of luck (distinct here from fluke) neatly defuses the accusation. Saying that a great goal involved luck does not to diminish it. Many unearned factors must interact with the skill.

“But did he mean it?” some people have wondered about Giroud’s goal. That isn’t the point, either. There wasn’t time. Giroud had solved the problem – to make contact with the ball, however possible, directing it towards the goal – before he was fully conscious of it. That doesn’t make it an accident. The expertise of a striker, like that of a writer, is opportunistic. He puts himself in positions where his skills can become productive. It is a honed ability to be instinctive. “If I’d thought about it, I never would have done it,” as Bob Dylan sings on “Up to Me”, an out-take from Blood on the Tracks.

Pseudo-intellectual? Quite the reverse. There is nothing pretentious about recognising and protecting creativity in sport. Over-literal decoding is the greater threat: instinctive performance needs to be saved from team meetings, not from intellectuals.

Having described a creative goal as unplanned – indeed, impossible to plan – what can coaches do to help? They can get out of the way, that’s a good start. It is no coincidence that the teams of Arsène Wenger, who is sometimes criticised for being insufficiently prescriptive, score more than their fair share of wonder goals.

The opposite arrangement is bleak. A friend of mine, a fly-half in professional rugby union, retired from the game when his coaches told him exactly which decisions to make in the first six phases of every attacking move. In effect, they banned him from playing creatively; they wanted rugby by numbers.

Not everything can be rehearsed. One useful book for coaches scarcely mentions sport – Inside Conducting, by the conductor Christopher Seaman. “I’ve never had much sympathy for conductors who ‘program’ an orchestra at rehearsal,” Seaman writes, “and then just run the program during the performance. There is much more
to it than that.”

Dan Vettori, the rising star among cricket’s Twenty20 coaches, is rare for having the bravery to echo Seaman’s theory. He believes that cricketers are more likely to play well when they feel slightly underprepared. It’s a risk and a fine balance – but worth it.

As I explored here last month in the context of Daniel Kahneman and Amos Tversky, there is a danger of slotting players into false stereotypes and classifications. Giroud, for example, is slow. Slow yet athletic. That’s an unusual combination and partly explains why he is underrated.

We often think of pace as the central and definitive aspect of athleticism. But speed is just one component of total athletic ability (leave to one side footballing skill). Giroud has an outstanding vertical jump, power and great balance. Because he is big and slow, those athletic gifts are harder to spot.

Management systems overestimate both labels and top-down tactics. A braver policy, pragmatic as well as aesthetic, is to be less controlling: allow opportunity to collide with skill, directed by an open, expert and uncluttered mind. l

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

This article first appeared in the 12 January 2017 issue of the New Statesman, Putin's revenge