Don’t blame hipsters for gentrification: blame neoliberalism

Gentrification in Streatham. Image: Getty.

Here are some things you should know about me: I am a 28 year old freelance writer who lives in Hackney. I am precariously yet creatively employed, work in a co-working space, and have spent the better part of my twenties living in flat-shares where the freezer hasn’t been defrosted since the mid-nineties.

For this dubious privilege, I pay far more than 50 percent of my income in rent each month which is, according to recent data, three times more on housing than my grandparents spent.

This is all to say: I am a gentrifying hipster. And while I know my demographic is a much-maligned harbinger of change, sometimes I start to feel like it’s the agent of change. Indeed, the canon of internet hot takes stating that “hipsters ruined such-and-such” is rich and varied – and usually written by property-owning individuals who have plenty of extra in their Sub-Zero freezers. When I report on the issue, the outraged internet commentariat writes comments like “Pretentious, expensive nonsense. RIP our inner city communities.”

Others beseech me to be a “responsible gentrifier,” taking care to spend just enough money to support the local economy, but not too much to attract unscrupulous developers. Even Vice, the simultaneous arbiter and enabler of hipster culture, informs me that daring to visit a chicken shop in a neighbourhood that I haven’t lived in my entire life is verging on cultural appropriation.

I’ve always known that a fixation on blaming the aesthetic indicators of gentrification – millennial pink coffee shops, vegan bakeries, art students in chicken shops – was a massive misdiagnosis of the problem. But when it came to countering that argument, I’ve always felt I was grasping. It was only after reading Anna Minton’s book, Big Captial: Who is London For? that I began to see that this misdiagnosis is not just intellectually amiss: it also helps further the aims of a government that has willfully created the conditions for our current crisis of displacement and housing shortage to arise.

The narrative that hipsters cause gentrification tends to come from two sources. One is the established communities who quite rightly assume that the “regeneration” projects that ruthlessly sprout up in their neighbourhoods are not intended for them. (Though I should say, in my own reporting I’ve found the viewpoints of established communities to be far more nuanced than the media generally gives them credit for.) The other is the pundits and editors who – whether it’s intellectual laziness or a thirst for clicks, I don’t know – know that headlines with “hipster” in them traffic well. But, no matter the source, these charges ignore both the structural underpinning and socioeconomic context of neighbourhood change.

So what does cause gentrification and, by extension, the housing crisis that affects nearly everyone in the capital? At least according to Minton, the process is multi-pronged. An intentional dismantling of the social housing through mechanisms like right-to-buy and buy-to-let since Thatcher has meant that the social housing sector is now dominated by private tenants receiving housing benefit – rather than people simply being housed in purpose-built social housing, which hasn’t been built meaningfully for years.


This drastically reduces the amount of affordable homes available for the middle class. This market-led social housing practice also contributes to inflationary pressures on everyone’s monthly rent payment.

At the same time, an influx of wealth from high net worth individuals at the very top of London’s property ladder – those “safety deposit boxes in the sky,” as Minton calls them – creates ripple effects throughout the market and links our country’s housing market to global capital flows. Meanwhile, the “we are building more housing!” cries from the Tories are essentially empty when market conditions push developers towards erecting gleaming luxury developments in place of dilapidated “sink estates”. Defining “affordable housing” as up to 80 per cent of market rent – or the Conservatives starter homes, worth up to £450,000 – means that these new builds might as well not exist for most normal people who actually need housing.

The process unleashed by this is not gentrification as it was originally defined, but a “state-led hyper gentrification” that is not just allowed, but abetted by government policies. In 1964, when sociologist Ruth Glass coined the term to describe the phenomenon of middle class families moving into and renovating working class cottages in Islington, the rate of change, for better or worse, was organic and the pocket books of those individuals served as a kind of upper limit. But now, as Minton write, “the speed of capital flows into places between the 1960s and 200s bears no comparison to what is happening today. It is these rates of return on property” – boosted by the policy of the government and councils – “that are driving the reconfiguration of London.”

Let’s be clear: those Dubai-like towers sprouting up in Dalston Square and Woodberry Down are not populated by hipsters, most of which live in dastardly flat-shares like the one I’m all too familiar with. They are largely populated by the investors, bankers, and overseas buyers who can afford to throw down half a million on a studio. As Minton notes in the book, during Stage 1 of sales for Elephant Park, a new development that replaced Heygate Estate in Elephant and Castle with roughly 2,700 luxury flats (a mere 82 are for social housing), 100 per cent were sold to foreign investors.

So if hipsters aren’t the ones actually selling or buying the luxury flats that are replacing long-time communities, but are rather opting to move to the only neighbourhoods where they can afford to rent a room and perhaps start a small business, why are we getting all the shade? Minton told me part of the reason is councils who, bereft of funds thanks to austerity, are keen to capitalise on the “up and coming” reputation that hipsters bring with their avocado toasts and street art. She told me:

“Hackney is in the throes of this kind of slower gentrification and state-led hyper gentrification. It hasn’t been done as brutally as what’s happened in Southwark and is planned for parts of Lambeth but the direction of travel is clear.

“Apparently a Hackney councilman was overheard saying ‘I think it’s great you can find artisan bakeries where you can find sourdough that’s £5 a loaf.’ There is no doubt the council is actively encouraging that kind of environment.”

Indeed it’s rare that you hear someone state the obvious: places that are in the throes of change with a diverse range of people living cheek by jowl are, in fact, quite exciting. “But that tends to drop off quickly,” Minton hastens to add, when the government does nothing to prevent complete and total displacement.

What doesn’t drop off quickly is the lack of “ontological security” that everyone from housing benefit claimants to millennial hipsters feel when their housing situation is insecure. Studies quoted in Minton’s book found that “prolonged periods in temporary housing” and “spending more than 30 per cent of income on housing” are associated with reduced mental health.

In short, blaming hipsters – or hipster culture or hipster food trends or hipster art – for the crisis of displacement and substandard, expensive housing ravaging our capital is a red herring. It amounts to the age-old “kids these days” critique of youth culture, without any recognition of the neoliberal market forces at play – and lets a government that has systematically neglected social housing for a couple decades conveniently off the hook. It also makes developers rich. 

“Whether you’re a hipster in a shared house in Hackney or a banker who’s just bought a luxury new build, I don’t think it’s anyone’s fault that established communities get displaced – it’s the structural underpinning that’s at fault,” Minton told me. “We’re all operating within this property economy and the putting it on the individual is just part of the individualistic neoliberal approach that’s got us to where we are with the housing market.”

Rosie Spinks is on Twitter as @rojospinks.

 
 
 
 

In search of the UK’s great “city films”: the South, East Anglia and the Midlands

Beachy Head, East Sussex. Image: Wikipedia via Creative Commons.

Earlier this year, in the first blog in this series, I looked at the best city films set in London. Here the search extends outwards – to the urban metropolites of the South, East Anglia and the Midlands. The focus is on films with some combination of local stories, connections and shooting locations.

That first blog outlines the selection method in detail. If you haven’t time to read it, the key things to know are that films must have received a total IMDb score of at least 6.5 from at least 100 votes – if a film is missing from the list it is probably because it does not meet those criteria.

South East

Described by the Guardian as “one of the finest post-war British crime movies and possibly the best depiction of the seaside town on film”, Jigsaw (1962) is about a murder investigation set in and around Brighton. The producers made the film in partnership with the local police and there is extensive footage of Brighton and its surrounds. Despite similarities with the real-life Brighton Trunk Murders of the 1930s, the plot was based on a 1959 American novel.

Brighton is again the location for Smokescreen (1964), yet this time insurance fraud is the crime. In addition to scenes at locations around the city and neighbouring Hove, the rest of the filming was at Brighton Film Studios, which operated between 1949 and 1966 and was the the last of four main film studios in the area. Its closure marked the end of an era, since as early as “1912, when Hollywood was just beginning, film companies in Brighton had already produced hundreds of comedies, dramas and documentaries”.

The Chalk Garden (1964) is based on a play of the same name by Enid Bagnold and, although not a period piece, inspired by Bagnold's own inter-war life at North End House in the village of Rottingdean that borders Brighton immediately to the east. Bagnold (a remarkable woman) lived a well-healed existence and the servants – notably the governess – figure prominently in the tale. Brighton features in the film – including a scene in Preston Park that recruited background players from the Preston Lawn Tennis Club.

The storylines of a couple of 1960s Oxford films centre on that city’s ancient university. The Mind Benders (1963) is a spy thriller involving brainwashing science, while Accident (1967) is about professorial-student relationships. Accident is based on a novel of the same title by Oxford-educated Nicholas Mosley (the eldest son of Sir Oswald). Both films have numerous shots of the university; we’re talking “The Full Morse” here.

A good deal of Quadrophenia (1979) is set either in London or between London and Brighton, but it does also feature the latter’s famous seafront and beach. The film, which is about a young working-class Mod in the mid-1960s, recreates the fights between gangs of Mods and Rockers that marred Brighton and other south-coast towns over holiday weekends during the Sixties.

Fast-forward two decades and Down Terrace (2009), a “Sopranos on Sea”-type dark comedy, is Brighton to its fingertips. It has a handful of local scenes but is more a house-based play than movie. Directed and co-written by Brighton resident Ben Wheatley, it is named after the street in which it was filmed. The other co-writer, who also has a lead role, is Rob Hill, who met Wheatley at the University of Brighton. The house in which most of the filming took place was Hill’s own home in Down Terrace and Hill’s character’s father is played by his real-life father – also a Brighton resident. Wheatley and Hill self-funded the film and did interviews with “local drug dealers and ne’er-do-wells” for the initial script. Several tracks come from local folk singers, The Copper Family. I loved it (as did the British Independent Film awards).


Emulsion (2014), a slick and clever film about a man’s search for his “missing wife”, is a Bournemouth film. Writer-director Suki Singh is a graduate of Bournemouth University’s Film School and still based locally. Despite the town council’s car park featuring heavily a good number of locations in Bournemouth and Poole are shown, including cafes, a local country house, department store, major hotel, police station, converted art deco cinema and Alum Chine suspension bridge. The film’s premiere came through a local Indie Screen scheme whereby Poole’s Lighthouse cinema guaranteed to screen good local indie films. The production company is locally based and, in addition to film-making (e.g. Bournemouth-shot feature, K-Shop), plays a key educational and networking role in the city’s film community. Even the score was by a (London-based) Bournemouth University graduate.

20,000 Days on Earth (2014) charts 24 hours in the life of Australian- born, Brighton-based singer Nick Cave. It is a curio in that, while the person is real, the day is artificial – made up of arranged but unscripted encounters with famous faces from 20,000 days-old Cave’s life. Many of the encounters take place in a car as Cave drives around the city, mostly away from the town centre and seafront. The film has been called “a great Brighton film, giving a neon noir sheen to Cave’s adopted hometown” and “as much of a love letter to the seaside city as it is to the man that inhabits it”. So, let’s include it.

South West

The film world owes a debt to the city of Bristol in that it gave the world one Archibald Alec Leach – better known by his screen name: Cary Grant. The Bristolian usually vies with the likes of Brando and Bogart for the mantle of greatest male lead in movie history. His upbringing in (and later ties with) Bristol is well captured in last year’s excellent documentary, Becoming Cary Grant.

Grant has long held a fascination for playwright Peter Nichols who, like the film star, grew up in north Bristol. Nichols converted one of his early plays into a challenging and amusing film of the same name, A Day in the Death of Joe Egg (1972). Nichols was rooted in the city, having been born there, educated at Bristol Grammar School, studied acting at the Bristol Old Vic Theatre School and had his first play staged at the Little Theatre (now part of Colston Hall). The play/film, based on Nichols' own experiences, is about how the burden of raising a very handicapped child can damage a marriage. The male lead is a teacher – just as Nichols had been. Funds to write the play came when legendary director-to-be John Boorman, then working at BBC Bristol, persuaded Nichols to write a screenplay for him – one that went on to make money. There are at least a handful of external shots filmed in the city although it remains more play than movie and you only hear a Bristol accent once – a funny department store scene.

Truly, Madly, Deeply (1990), which was also shot in London, and Paper Mask (1990) both show Bristol locations albeit without any great local rootedness. Starter for 10 (2006) is about student life and a University Challenge quiz team at the University of Bristol yet, despite a few good Bristol shots, most of the university scenes were filmed at UCL and the University of Greenwich.

East Anglia

Ipswich has The Angry Silence (1960), a film about strike-breaking and, seen more broadly, an individual opposing a group. It was shot mainly in and around a big local factory (operational as recently as 2005), neighbouring streets and a local primary school. Extras comprised of both local amateurs and many factory staff, one of whom lent their battered (ie realistic) overalls to one of the film’s stars. The lead actor, Richard Attenborough, even visited the factory beforehand to learn to use the machine he worked on in the film, and later hosted a private showing for local extras at the old Ritz Cinema in the Buttermarket. The film still holds up almost sixty years on, yet not everyone took civic pride in it – Ipswich Trades Council voted to boycott it. 

Following a successful online campaign named “Anglia Square not Leicester Square”, the world premiere of Alan Partridge: Alpha Papa (2013) was held in Norwich’s Hollywood Cinema, with Steve Coogan appearing in character as North Norfolk Digital radio station’s own Alan Partridge. Coogan/Partridge greeted fans before being helicoptered to the London premier in Leicester Square! The film has some good shots of Norwich, although many scenes were also filmed on the Norfolk coast, at Sheringham and Cromer beaches, and around London.


Originally created as the master’s project of Norwich-born, -raised and -based director, Kris Smith, who was at the time studying film at Norwich University College of the Arts, I’m Still Here (2013) focuses on a young guy diagnosed with a terminal illness and draws on Smith’s own experience of a loved one in this situation. Smith, who both wrote and directed the film, worked with three locally based actor-filmmakers, and the soundtrack includes local band National Image and locally-based rap artist C.O.L.L. The main shots of the city are at the beginning – including a trip to the Norfolk and Norwich Hospital (yet when a neighbour later drops him at “the hospital” the entrance shown is St George's in south London’s Tooting!). The premier took place at The Curve Auditorium, in Norwich’s Forum complex.

The short story that inspired the multi-award winning 45 Years (2015), which tells the tale of a retired couple, may have been set in north Wales, but the resultant film was indeed set in Norfolk. It includes a handful of scenes featuring popular Norwich locations and the nearby Norfolk Broads receive a nice profile too. The director, Andrew Haigh, has revealed that a lot of the scenes in Norwich featured genuine passers-by – lead actress Charlotte Rampling “would walk around the city and nobody even looked at her. We had the camera hidden in a van to film some of the scenes, so people wouldn’t see us”. Haigh knew the city well as he was living there at the time of filming while his partner was doing an MA in creative writing at University of East Anglia.

Blinded by the Light, at a cinema near you from 2019, is Gurinder Chadha’s film about the true story of a Bruce Springsteen-mad British Muslim growing up in Luton during the 1980s. The film is based on journalist Sarfraz Manzoor’s 2007 memoir, Greetings from Bury Park. Exact shooting locations are unclear although Manzoor, who is a co-producer and co-wrote the script, has said that “there have been moments on set when I could not stop smiling at the sight of a feature film crew in the middle of Luton”.

East Midlands

Nottingham is the focus of Saturday Night and Sunday Morning (1960), of which the screenplay, about a womanising hard-drinking young factory worker, was adapted by Alan Sillitoe, who was born and raised in the city, from his novel of the same name. The film’s anti-hero works in Raleigh bicycle factory – as Sillitoe himself had when it had been a wartime munition factory. The author’s family home was a main location for the film and his brother had a bit part. Numerous other city locations appear – from the castle to cinemas and pubs (including The White Horse – the setting for the short story that later became the novel). Although the closing scene was shot overlooking a Wembley housebuilding site, a Nottingham firm supplied one of its signs to bring “authenticity”. Not all locals welcomed the film: the then-Tory MP for Nottingham Central denounced it as a “foul libel on the respectful, clean living people of Nottingham”. The work was however deemed the 14th greatest British film in a 1999 BFI survey.

Shane Meadows, who moved to Nottingham from the eastern-most part of the West Midlands when he was 20, has shot several good films in and around his adopted home city. His first feature, TwentyFourSeven (1997), about a youth boxing club, was filmed in Nottingham suburbs and exurbs. A Room for Romeo Brass (1999), about two 12-year-old friends, was shot in Calverton – just outside the city. The relationship between the two boys is semi-autobiographical and based on the childhood relationship between Meadows and co-writer Paul Fraser. Much of Meadows’s This is England (2006), about skinhead youth in the early 1980s, was shot in residential areas of Nottingham. Meadows has used professional actors but has also drawn on local talent – notably from the Television Workshop in Nottingham – for key roles. The Workshop, now a charity, was originally set up by Central Independent Television in 1983 to act as a casting pool for young talent in their Midlands broadcasting region.

Leicester gets a look in with The Girl with Brains in Her Feet (1997), a coming-of-age tale, set in 1972, about a talented, mixed-race 13-year-old athlete at a school on the outskirts of Leicester. The screenplay was written by the late Jo Hodges who, back in 1972, had been a sporty, mixed-race 13-year-old at a school on the outskirts of …. you guessed it, Leicester.

Although it didn’t include lots of Northampton scenes, Kinky Boots (2005) is based on the true story of one of the area’s shoe-making companies managing to stave off closure through switching to producing women’s boots that were large and strong enough for drag queens and male fetish footwear lovers. The company was based a few miles outside Northampton although most of the internal factory scenes were shot at the Tricker’s shoe factory in Northampton itself.

The Unloved (2009) gives a child's eye view of the UK’s government-run care system for orphans and children in danger. Filmed entirely in Nottingham, it offers a handful of shots of the city and is a semi-autobiographical account of the upbringing of the film’s director, Nottingham-born-and-raised Samantha Morton (who has twice been nominated for acting Oscars). The film also gave leading roles to two actresses – Lauren Socha and Molly Windsor – who had attended the Television Workshop.

Oranges and Sunshine (2011) depicts the true story of Margaret Humphreys, a social worker from Nottingham who, in the 1980s, uncovered the horrifying and thankfully discontinued practice of Home Children; the forcible relocation, by misguided charities, of children in care from the United Kingdom to Australia and other parts of the Commonwealth. Humphreys reunited some of the children involved – now adults living mostly in Australia – with their parents in Britain and was awarded a CBE in 2011 for her work. Several Nottingham locations were used in the film although shooting also took place in Australia. The two main young actresses were Television Workshop alumni.

Nottingham was also the location for the Weekend (2011), which was named in 2016 by a BFI survey as the second best LGBT film of all time (Carol took first place, since you ask). The plot centres upon a casual encounter that shows signs of developing. The only real connection to the area, aside from locations including the Goose Fair, is that funding came from EM Media and the region’s now-closed development agency (EMDA).

Given that we are including villages just a mile or so outside Nottingham, A Boy Called Dad (2009), about a teenage father, also merits inclusion. An East Midlands production company raised the £1m needed to start shooting – obtaining funds from the former Regional Screen Agency, EM Media. North Wales and Merseyside locations also feature however.

West Midlands

Nativity! (2009), a film about a nativity play competition, is the stand-out Coventry (and West Midlands) film. Spon Street, various city landmarks and, in particular, the bombed-out St. Michael’s Cathedral can be seen in the film, which was written, directed and produced by Coventry-based Debbie Isitt, herself a product of a two-year Coventry Performing Arts Service course, and premiered at the city’s SkyDome Arena. The multi-talented Isitt even does the music along with her long-term partner Nicky Ager. Nativity! drew on Isitt’s memories of her primary school in Birmingham, which resurfaced when her own daughter (who appears in the film) reached the same age. The other children in the film, almost none of whom had agents, were recruited from schools around Birmingham and Coventry. In 2008, BBC Coventry and Warwickshire followed the filming and, to complete the local angle, Coventry’s Belgrade Theatre even played a part in production. It’s an enjoyable feel-good Christmas film suitable for all ages.

The absence of a film from Birmingham is the elephant (not) in the room; the world is surely due a great Brum film? That said, there have certainly been good films from the city and these are outlined in the spreadsheet referred to below.

Scoring

Overall the films from the South, East Anglia and the Midlands offer some additional perspectives on England to those in the films featured last blog. Through watching them we see a nation with vibrant seaside towns, attractive provincial cities, ancient and redbrick universities, factories, and the post-industrial landscape left behind when these closed.

Anyway, once again I have used my “highly scientific” method to score those films. The full list of scores, complete with further details on all films, is available here. The top-scorers, for each region, are:

  • East – I’m Still Here (Norwich): 10.5 points
  • East Midlands – This is England and Saturday Night and Sunday Morning (both Nottingham): 9 points each
  • South East – Down Terrace (Brighton): 12 points
  • South West - A Day in the Death of Joe Egg (Bristol): 7 points
  • West Midlands – Nativity! (Coventry) 11.5 points

The next installment will look at the best city films from the three regions that make up the North of England.

The author, a Brit based in Washington DC, is founder of The New Barn-Raising a project to promote international exchange on ways to sustain parks, libraries, museums and other community and civic assets. You can find him on Twitter at @newbarnraising.