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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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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