Crap Towns is nothing but an exercise in laughing at neglect

Why don't we love our neglected towns? When he returned to England to research his latest book, author Daniel Gray found the country's towns a haven of the beautiful and bizarre.

The man in a Mr Bean mask threw a punch. Its intended recipient, without mask, was pulled away by his girlfriend just in time. Mr Bean’s own partner screamed: "Leave it Paul, don’t ruin my night." Bean pointed at his foe. "Watch it next time I see yer, yer clown."

Behind them, where I was standing, a late-teen girl was oblivious. She danced slowly across the water feature outside the town hall, her face turned to the moon. This civic pond was so shallow that she seemed to be walking on water. Her boyfriend sat on the wall around the edge, holding her shoes. Eleven cathedral bells rang and I went back to my hotel.

Bradford was one of thirteen English towns I spent a weekend in over the course of a year. I travelled in search of words, the result being my book Hatters, Railwaymen and Knitters, a fond look at neglected England via, loosely, the prism of football. I set out from my home in Scotland to find out what the country of my birth now looked and felt like. I had just turned thirty and was losing sight of my identity and of England as she and Scotland drifted apart. You think a midlife crisis is bad? My quarter-life version compelled me to visit Luton, Hinckley and Crewe.

That last line of cynicism was played for cheap laughs. You see, I liked Luton, Hinckley and Crewe. And Bradford, Burnley and Watford. Someone has to, the cheap laugh might continue, so it might as well be me. I wanted to stand up for them, to point out their good parts, laugh with them and show how their stories made England’s history. I also wanted to reject the "chavtowns", Crap Towns ethos that infested British culture in the first part of this century.

Now, I learn, there is to be another Crap Towns book.

Four of the places I visited are on the longlist for the new edition (Bradford, Luton, Newquay and Sheffield). So too is the one in which I was born (Stockton-on-Tees) and the one in which I grew up (well, older), York (a city, but who’s splitting hairs when you’ve got toilet reading to push). Crap Towns hides its disdain for ‘lesser’ people in ‘lesser’ places behind its format. It is pomposity via photos of re-badged Arndale Centres, sneering via rankings that set the inhabitants of, say, Coventry against those of Nuneaton when they should be uniting in the face of an elite that knows nothing about their lives. It deigns to tell the whole stories of place and people in a couple of quarter-pages, writing them and their Britain off. A bit of fun? Reading Crap Towns is the modern equivalent of watching a good old hanging.

The editors of Crap Towns Returns are of a similar age to me. We’ve grown up in the same times though, given the Oxbridge whiff of their works (The Idler, anyone?), not necessarily the same England. I find their worldview puzzling, and choose not to believe in a society that stands taking the piss from the sides, accepting its lot and looking down on that of others. That’s just no fun. I like an England that celebrates what it has and looks to change for the better what it hasn’t. It laughs along, not at. It is progressive, not hopeless. 

The England I wish to take readers to looks at Stockton-on-Tees and its neighbour Middlesbrough and sees places that changed the world. That Middlesbrough – in 2009 Channel Four’s ‘Worst Place to Live’ – is one of steel that coiled the globe like a writhing nest of serpents. As a poem on a wall near the football stadium recounts, Every metropolis / Came from Ironopolis. Today, Middlesbrough and Stockton are scarred by things done to them in the decade me and the Crap Towns editors grew up. It is for rightly-defensive local MPs to list these towns’ modern assets, and for me to add that when you walk by a bar in Henley-on-Thames, you don’t hear an avalanche of laughter as you do on Teesside (that might be unfair to Henley-on-Thames. I’ve never been. I’m just adopting Crap Towns editorial principles for this article).

It sees in Bradford, as well as the comedy and romance of a Saturday night by the town hall, a civilising city, the home of the Independent Labour Party and one of the first places on earth to school all of its children, and provide its citizens with water and electricity. Moreover, this Bradford in this England, if you open your eyes, is at times wistfully beautiful: the Werther’s Original packet-coloured stone of its buildings, the Flat Iron contours of Little Germany, Asian and white teenagers giggling together as the rain ping-pongs all around them. 

Luton is the mesmeric buzz of Bury Park, with its unidentifiable vegetables that look like pock-marked comets and the old man in the Conservative Club who waved a walking stick at me for forgetting to pay my 50p entrance fee. It is the sign on a tree in gorgeous Wardown Park which reads "Budgie Found ... please phone", the creaking floorboards and proud displays of the town museum. There, a case contains charred artefacts from the night locals burnt down the town hall in protest at the treatment of WWI troops and bereaved families. And it is not the English Defence League, nor those who distort Islam: it is the white man in that museum telling me "immigration and racism are only a problem when they decide to turn up" and the Asian taxi driver eyeballing me in the rearview mirror and saying "the likes of the EDL or the mad mosques, they don’t speak for the town."

When I take readers to Sheffield, it is to show them the First City of Rebellion, and the home of kicking and dreaming; football’s granddad. It is to take them uphill on a tram to Jarvis’ house, then back into town via synth pop and for a pint of good ale by the coal fire in the pub where the Arctic Monkeys first spellbound an audience. I want readers to switch off Bravo TV, which has us thinking that every Saturday night in every town and city is a riot of people being sick on each other’s tattoos. I want them to sit watching with me, watching the handsome young indie boy helping the old lady onto the tram, watching the police get kisses.

Let the readers finish at the end of England, in Newquay, as I did. There, I sat with my back to the country. Everything was perfect: the sun slid into a gluey ocean and waves smashed cliffs like foamy wrecking balls.

‘YOU WANT A CRISP, MATE?’ A voice from behind startled me. An accompanying hand then appeared over my shoulder, its scales and divots pointing to a life lived wholeheartedly. Its fingers were clasping a cheesy Quaver.

Beauty and the bizarre. That’s my England.

Reading Crap Towns is the modern equivalent of watching a hanging. Photograph: Getty Images.
Daniel Gray’s newest book is Hatters, Railwaymen and Knitters: Travels through England’s Football Provinces. It is published by Bloomsbury in August 2013.
John Moore
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The man who created the fake Tube sign explains why he did it

"We need to consider the fact that fake news isn't always fake news at the source," says John Moore.

"I wrote that at 8 o'clock on the evening and before midday the next day it had been read out in the Houses of Parliament."

John Moore, a 44-year-old doctor from Windsor, is describing the whirlwind process by which his social media response to Wednesday's Westminster attack became national news.

Moore used a Tube-sign generator on the evening after the attack to create a sign on a TfL Service Announcement board that read: "All terrorists are politely reminded that THIS IS LONDON and whatever you do to us we will drink tea and jolly well carry on thank you." Within three hours, it had just fifty shares. By the morning, it had accumulated 200. Yet by the afternoon, over 30,000 people had shared Moore's post, which was then read aloud on BBC Radio 4 and called a "wonderful tribute" by prime minister Theresa May, who at the time believed it was a genuine Underground sign. 

"I think you have to be very mindful of how powerful the internet is," says Moore, whose viral post was quickly debunked by social media users and then national newspapers such as the Guardian and the Sun. On Thursday, the online world split into two camps: those spreading the word that the sign was "fake news" and urging people not to share it, and those who said that it didn't matter that it was fake - the sentiment was what was important. 

Moore agrees with the latter camp. "I never claimed it was a real tube sign, I never claimed that at all," he says. "In my opinion the only fake news about that sign is that it has been reported as fake news. It was literally just how I was feeling at the time."

Moore was motivated to create and post the sign when he was struck by the "very British response" to the Westminster attack. "There was no sort of knee-jerk Islamaphobia, there was no dramatisation, it was all pretty much, I thought, very calm reporting," he says. "So my initial thought at the time was just a bit of pride in how London had reacted really." Though he saw other, real Tube signs online, he wanted to create his own in order to create a tribute that specifically epitomised the "very London" response. 

Yet though Moore insists he never claimed the sign was real, his caption on the image - which now has 100,800 shares - is arguably misleading. "Quintessentially British..." Moore wrote on his Facebook post, and agrees now that this was ambiguous. "It was meant to relate to the reaction that I saw in London in that day which I just thought was very calm and measured. What the sign was trying to do was capture the spirit I'd seen, so that's what I was actually talking about."

Not only did Moore not mean to mislead, he is actually shocked that anyone thought the sign was real. 

"I'm reasonably digitally savvy and I was extremely shocked that anyone thought it was real," he says, explaining that he thought everyone would be able to spot a fake after a "You ain't no muslim bruv" sign went viral after the Leytonstone Tube attack in 2015. "I thought this is an internet meme that people know isn't true and it's fine to do because this is a digital thing in a digital world."

Yet despite his intentions, Moore's sign has become the centre of debate about whether "nice" fake news is as problematic as that which was notoriously spread during the 2016 United States Presidential elections. Though Moore can understand this perspective, he ultimately feels as though the sentiment behind the sign makes it acceptable. 

"I use the word fake in inverted commas because I think fake implies the intention to deceive and there wasn't [any]... I think if the sentiment is ok then I think it is ok. I think if you were trying to be divisive and you were trying to stir up controversy or influence people's behaviour then perhaps I wouldn't have chosen that forum but I think when you're only expressing your own emotion, I think it's ok.

"The fact that it became so-called fake news was down to other people's interpretation and not down to the actual intention... So in many interesting ways you can see that fake news doesn't even have to originate from the source of the news."

Though Moore was initially "extremely shocked" at the reponse to his post, he says that on reflection he is "pretty proud". 

"I'm glad that other people, even the powers that be, found it an appropriate phrase to use," he says. "I also think social media is often denigrated as a source of evil and bad things in the world, but on occasion I think it can be used for very positive things. I think the vast majority of people who shared my post and liked my post have actually found the phrase and the sentiment useful to them, so I think we have to give social media a fair judgement at times and respect the fact it can be a source for good."

Amelia Tait is a technology and digital culture writer at the New Statesman.