Is now the time to bring back national service?
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When Freddie Bampfylde became Chairman of Christoby’s UK, the first thing he did was get rid of the desk in the mahogany-panelled study which became his with the new role. As he told a journalist from the Telegraph, he needed a much larger desk to accommodate Johnny the Antelope, the huge, purple antelope head by Damien Hirst which he strokes for luck before he takes an auction. He is also rather fond of the photograph of him dressed as Batman taking an auction at the Royal Hospital in aid of the Pensioners and has placed it next to the silver-framed photograph of his wife, children and pugs sitting on the sweeping stone steps leading to the doors of his house, Evenlode.
This week's magazine
The race to go private
Postwar Britain can be defined by a bargain made with its middle class: pay for public services but benefit from them too. Private education has always been the choice of a very small minority; private healthcare was reserved for the wealthiest and those whose employers paid for it. Middle England was content to send their children to the same schools as everyone else and use the same GPs, hospitals and dentists. This is no longer true. State spending continues to grow, yet large parts of the population now pay privately to supplement what their taxes have already provided.
Postwar Britain can be defined by a bargain made with its middle class: pay for public services but benefit from them too. Private education has always been the choice of a very small minority; private healthcare was reserved for the wealthiest and those whose employers paid for it. Middle England was content to send their children to the same schools as everyone else and use the same GPs, hospitals and dentists. This is no longer true. State spending continues to grow, yet large parts of the population now pay privately to supplement what their taxes have already provided.
The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Authors hate it when reviewers refer to their book as a ‘weighty tome’ as it implies that the contents are going to be about as much fun as Deuteronomy. So I should make it clear that while Tim Hayward’s The Cocktail Hour (Quadrille, £20) is extremely weighty, that’s because the production values are off the scale. The monks at Lindisfarne could scarcely have put more effort into illuminating their work. And while the paper is heavy, Hayward’s writing is as refreshing as a perfectly made dry martini. There are hundreds of cocktail books out there, but none combine Hayward’s erudition, obsession and sense of humour. He is at once deadly serious and very, very funny. It’s the best book on the subject since Bernard DeVoto’s 1948 book The Hour.