In London - and forget those extra public pressures on politicians - the lovely old Sloane world of manor houses simply hasn't cut it since Big Bang in 1986, the point at which Mrs. Thatcher really started to achieve her ambition to make this country more like America - its ambition, economy, it's very tangible measures of success.

It's just as well that I write in the same facile way wherever I am - no blocks or anguish, no contemplation, no elaborate revision, no need for love-tokens or nice views.

Girls like Diana Spencer, armed with nothing more than a guinea-pig-rearing certificate, proud to say in that old Sloane way that she was 'as thick as two short planks,' became the exception as girls from Benenden and Downe House started to fast-track towards the City and law, consultancy, media and the arts.

Marmite - like that other little black-jar job, Bovril - is so much a Mark 1 staple-of-Empire brand, so much part of the Edwardian world of enamel advertising signs, the history of grin-and-bear-it industrial food.

Have you got a Beemer, an Audi, a Saab or a Volvo that replaced a Ford, Vauxhall, Rover or Nissan? Many Brits have. Your first Beemer. A particularly nice smell of leather. Something rather plain but satisfactory about the interior. And that lovely enamel wotsit in the middle of the steering wheel. A moment of quiet 'because I'm worth it' pride.

There are pop managers, and then there's Simon Cowell, who isn't gay, Jewish or particularly riveting. He's not without interest but he doesn't exactly have the hinterland of, say, Brian Epstein.

By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.