YESTERDAY’S MAN

Gorbachev and VladHe was always good at timing, Mikhail Gorbachev. His elevation to de facto Soviet leader in 1985 was good timing for a West wearying of four decades playing a chess-game with only one potential checkmate in sight; he offered a far more optimistic future than the diehard dodderers he succeeded and arrived in office right at the very moment when his opposite number in the White House was open to de-escalating the arms race. His death at the age of 91 has reminded the world there once was a time when Russia was led by a man who (to paraphrase Mrs Thatcher) the West ‘could do business with’ – as opposed to a warmongering megalomaniac turning back the clock that Gorbachev stopped. And his death comes at a point when his most despotic successor is doing his utmost to trash the progress made by one of the world’s last great statesmen; after all, if any single individual deserves credit for accelerating the end of what I guess we must now refer to as the First Cold War, it was Mikhail Gorbachev.

Ghosts have an inconvenient habit of haunting the headlines and giving those left behind an inconvenient reminder of how lowly they languish in the long shadows these apparitions cast. For the last Premier of the Soviet Union to shuffle off this mortal coil when one of the worst legacies of the Soviet era is currently waging an old-school imperial war in Ukraine, dismantling every achievement of his far more illustrious predecessor, is a sad irony. But for a moment, we pause and recall that it wasn’t always like this. Unlike Putin, who has an incurable appetite for starting conflict, Gorbachev actually brought a phenomenally futile military engagement to an end (Afghanistan) and also oversaw the death throes of another long-running farce with innumerable casualties, the USSR.

By the mid-80s, it was evident to anyone not spoon-fed Soviet propaganda that the Iron Curtain was so corroded by ideological rust that it could crumble away with little in the way of pressure; if it were to be removed as painlessly as possible, the task required a man whose vision was not clouded by misguided nostalgia for – and blind faith in – a system not fit for purpose. Both Gorbachev and Putin were schooled in this system, yet one realised its days were numbered and sought to reinvent it while the other is desperate to bring those ‘glory’ days back, regardless of the collateral damage along the way. Gorbachev was a consummate politician, whereas Putin is a military man with a one-track mind. How Russia went from one man to the other probably has something to do with the corrupt, pissed-up disaster wedged historically between them – Boris Yeltsin – as well as the fact the Russian people never forgave Gorbachev for waking them up from the comforting dream of the Soviet Empire.

Born in 1931 to peasant stock of Ukrainian descent, Mikhail Gorbachev was raised in a country suffering from the stranglehold of Stalin, yet by the time Gorbachev had graduated from Moscow State University with a Law degree, Stalin was dead and Nikita Khrushchev was attempting to reform the nation with a process of de-Stalinization that was to be echoed on a far wider scale 30 years later when Gorbachev himself instigated unheard-of freedoms of speech without fear of arrest and imprisonment known as glasnost. Although beginning his political career loyal to the principles of Communism, the deposing of Khrushchev in 1964 and his replacement with the less flexible and far more hardline Leonid Brezhnev perhaps indicated to the ambitious young politician it would take longer to wrestle the nation free from the grip of traditional totalitarian approaches to governance. This awareness was also expanded during Gorbachev’s visits to Western Europe as he climbed the greasy pole and was regarded as safe enough to venture beyond the Eastern Bloc. The shock of seeing how the other half lived in West Germany and, particularly, France – where he experienced open criticism of government that wouldn’t be tolerated in the USSR – caused him to make comparisons that his more isolated, not to say insulated, colleagues back home were denied.

Gorbachev’s rise up the ranks was aided by the death of Brezhnev in 1982 and by his replacement Yuri Andropov, who served as Gorbachev’s mentor and was clearly grooming his pupil to succeed him; it seemed the ultimate prize was within Gorbachev’s grasp. However, Andropov had barely a year as Soviet Premier before he too passed away, and the Central Committee demonstrated their timidity and lack of vision by opting for an ageing Brezhnev leftover called Konstantin Chernenko as Andropov’s successor rather than take a chance on the younger man; this move seems to have parallels with the election of Joe Biden as US President – an elderly, ailing and ineffective individual too old and bewildered to achieve anything in office other than having the correct credentials for a governing party incapable of looking to the future. As it turned out, Chernenko’s unremarkable rule lasted not much more than a paltry twelve months and Mikhail Gorbachev’s moment finally arrived, elected as de facto Soviet leader by the Politburo. Nobody, not even Gorbachev himself, had any idea at the time that the new man would be the last leader the country would ever have.

Realising that if the Soviet Union was to survive then it had to move away from the detached distance of the out-of-touch fossils in the Kremlin, Gorbachev certainly created a different impression than the men who came before him. The distinctive birthmark that baldness revealed made him immediately identifiable to a global public and he seemed possessed by a youthful dynamism that especially found the kind of favour in the West that no other previous Soviet leader had achieved. In order to bring in the reforms he knew the nation needed, Gorbachev filled the Politburo with allies and began relaxing some of the more severe curbs on personal freedoms, even releasing notable dissidents who would otherwise have seen out their days in Gulags. The Chernobyl disaster of 1986 provided Gorbachev with a further opportunity to publicly air his views on decades of Soviet mismanagement and incompetence, confident the public would henceforth understand the urgent need for change.

Gorbachev was made for the world stage, charming America’s NATO allies en route to his first summit meeting with US President Ronald Reagan and enjoying tea and crumpets with Her Majesty; despite mistrust and suspicion on both sides from the aides and advisers surrounding Reagan and Gorbachev, several summits took place and though neither man entirely warmed to the other in the beginning, by the end of Regan’s term in the White House relations between the two Cold War superpowers were undoubtedly better than they had been in decades. At home, however, Gorbachev received it in the neck from both liberals (who thought his reforms not far-reaching enough) and hardline Communists (who thought his reforms were too close to capitalism for comfort); he was also criticised for standing back and allowing the old Soviet satellite states to rise up and reject the system that had kept them under Moscow’s thumb since the end of the Second World War.

Boris Yeltsin, a man Gorbachev had promoted, turned out to be a persistent thorn in his side during this period and the fact Yeltsin was credited with successfully extinguishing the attempted coup d’état by Communist hardliners in August 1991 further weakened Gorbachev’s position. The writing was on the wall for both Gorbachev and the Soviet Union. He resigned as President on Christmas Day 1991 and the USSR itself ceased to exist on New Year’s Eve. What followed is another story for another day, but like any loss of a world leader whose era now seems a long way away, one can’t help but make comparisons – not just between Gorbachev and the psychopath who today wears his shoes, but with all the other excuses for world leaders we have in 2022. From Boris to Biden and from Macron to Trudeau, this is not an age of great men, and greatness can obscure a multitude of sins that utterly exposes those without it.

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THE WRONG ARM OF THE LAW

Old Coppers‘It can’t get no worse’ – John Lennon’s characteristically sardonic counterpoint to Paul McCartney’s optimistic declaration that ‘It’s getting better all the time’. Unfortunately, neither 55 year-old observation seems apt at the moment – at least not if one subscribes to the dominant narrative. It would appear it’s far from getting better and it certainly can get much worse. Visible reasons to be cheerful are thin on the ground where this narrative is concerned, but it’s one that serves a purpose and has done since the spring of 2020. That said, lack of faith in the future goes way beyond Project Fear, for there’s undoubtedly a persistent sense of insecurity induced by the fact the public bodies entrusted with keeping us safe and secure are currently found wanting. And this insecurity would appear to be well-founded.

Alas, it’s easy to resort to shoulder-shrugging indifference when holier-than-thou hypocrites using their public servant status as a shield against scrutiny are caught out yet again at both local and national level; so, a politician has been feathering his or her nest with taxpayer money – so what’s new? The current Chancellor of the Exchequer – a man not necessarily renowned for sticking to his guns – one day tells us we can use as much energy as we like this winter and the next tells us we may have to choose between keeping warm or having dinner; and then it emerges he claimed on expenses to heat his stables. I didn’t realise his day-job was being a rag & bone man, but there’s public service for you. Should we be surprised? I doubt it. Should we be angry? Of course, but what’s the point when nobody is ever held to account?

North Korean-style displays of support for the NHS were encouraged during the pandemic, yet anyone who has tried to gain an appointment with their GP since then has probably been left crossing their fingers and hoping they stay fit and well – never mind having to set aside an entire evening bleeding on the carpet whilst waiting for an ambulance to arrive. A national treasure that converts the billions governments throw at it into layer-upon-layer of imaginary job titles that have less to do with saving lives than enforcing ideology doesn’t exactly enhance the cherished and antiquated ideal of the NHS that has continued to cast a long, sentimental shadow across the subject ever since private-public partnerships made such sentiment irrelevant. Add to that the staggering fortunes made by those unscrupulous individuals and outsourced companies who enjoyed a ‘good pandemic’ by winning uncontested contracts to distribute items that were supposed to counteract Covid and it’s hard not to be possessed by incurable cynicism. Oh, and probably best to keep a box of paracetamol in the medicine cabinet, just in case you succumb to toothache; failing that, a long piece of string. It’s not as if you’re going to be able to access a dentist, is it?

It can also feel like every day we’re confronted by headlines concerning the perpetrator of some awful barbaric crime, with said criminal having committed said crime shortly after an early release back into society, despite having a CV of similarly grotesque offences to his name. The sentence imposed upon him may make do while ever the gibbet remains a museum piece, but the disproportionate influence of dubious do-gooders on the parole board and the questionable interventions of reprehensible members of the psychiatric profession suggest ‘human rights’ only apply to perpetrators and are not applicable to actual victims. Should the criminal have no track record of appearing in known-rogue’s galleries before being nicked, a soft sentence swayed by a defence playing the mental health card ensures he has little to fear when it comes to crime and punishment. After all, even paedophiles are attempting to legitimise their perversion as a human rights issue by reclassifying themselves as Minor Attracted Persons.

Anyone who isn’t what the police and MSM have decreed to be ‘the right kind of victim’ has probably come to the conclusion that dialling 999 and reporting being triggered by a meme on Twitter is more likely to guarantee a rapid response than a bog-standard burglary. A recent ‘Triggernometry’ interview with ex-policeman Harry Miller – the man who, you may recall, mounted a successful legal challenge against Humberside Police after they advised him to ‘check his thinking’ – was compelling and frightening in equal measure. In it, he described his arrest while attempting to prevent the arrest of an ex-serviceman whose heinous crime was re-Tweeting an image of the BLM variant of the Pride flag rearranged to resemble a swastika; considering the manner in which this ubiquitous flag is strung across our city streets in a fashion that has distinct parallels with many a strasse in the 1930s, it seems a fair – not to say satirical – comparison to make. Not so in the eyes of the College of Policing, which seeks to recruit graduates whose university grounding in unthinking groupthink means they’re already indoctrinated and primed to vigorously enforce a specific dogma.

Miller spoke of how he quoted the actual law to the blank-eyed automatons who cuffed him, yet was complemented with ignorance of it as they obeyed orders in the tradition of the Fatherland; he even had to remind them to caution him as they recited from their own exclusive rulebook. I suppose anyone whose park-bench picnic was gatecrashed by an over-officious officer governed by this unlawful manual during lockdown will recognise the scary signs. The ex-serviceman was arrested as intended along with Miller, and the former was offered an alternative to prosecution: a ‘re-education course’. So, not only was the Chinese model ideal for the pandemic; it works for policing too. When the police are caught on camera warning intimidated lesbians to remove themselves from Pride parades whilst allowing aggressive Trans activists to remain – presumably so they have someone to dance the Macarena with – it’s glaringly apparent where their priorities lay. The behaviour of the police during lockdown seemed to be a dummy-run for this form of politicised policing and now they’ve made it abundantly clear their role is that of the private army of the ‘minorities’ the College of Policing has chosen to ring-fence in order to appease the lobbyists with the loudest voices and the fiercest foot-soldiers.

The contract between police and public is unravelling before our eyes. If the people can no longer rely upon the police for protection and to come to their assistance in the event of a genuine crime (as opposed to someone being offended), where does that leave us – vigilantism? Having the police rebranded as the paramilitary wing of the Identity Politics brigade allows no room for traditional common sense, something Harry Miller raised with the Chief Constable of the Force he rightly defeated in court. When Miller recalled the response of said copper, he summed-up the skewered approach of policing today; the top cop informed Miller common sense was not ‘an appropriate tool’ for a police officer. It may well be self-evident in any of the DIY videos that capture modern British policing in action online, though it’s still chilling to have it said out loud.

But the example of what’s happened to the police is merely the most extreme to befall those public bodies people could once depend on to do their jobs for the benefit of all society, not just the tiny minority of it that screams the most when its narcissistic feelings are hurt. If the people have no trust or faith in the police, the legal system, the NHS, the mainstream media and politics, they basically have no investment in society as a whole, one in which we are all supposed to have a stake. It’s every man for himself and f**k your neighbour because he’ll do it to you if you don’t do it to him first. That is not a healthy recipe for the future, regardless of whether or not all or none of the gloomy soothsaying currently being engaged in comes to pass.

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BLAME IT ON UKRAINE

LamplighterIt could be worse, I guess – we could be Germany; no, this isn’t anything to do with the War, not the 1939-’45 one, anyway. Events in Ukraine that have been in full swing for six months now have undoubtedly impacted on life in Western Europe, especially when it comes to the import & export trade, though Tsar Vlad’s invasion does provide politicians with a convenient get-out-of-jail card, one that serves to obscure their own failings over the past two or three years. Don’t blame it on the sunshine, don’t blame it on the moonlight, don’t blame it on the good times – blame it on Ukraine. Don’t blame it on the lockdown, don’t blame it on Covid, don’t blame it on Net Zero – blame it on Ukraine. Considering Germany’s somewhat…er…problematic history with Russia, perhaps Frau Merkel reckoned it was a nice reconciliatory gesture to entrust the old enemy with providing the majority of Germany’s gas imports. She obviously (not to say inexplicably) didn’t foresee a time when Comrade Putin might use this to his advantage; after all, it’s not as if he hasn’t sought to extend his nation’s current borders via military means in the past, is it?

Following the Fukushima disaster in 2011, Mrs Merkel eagerly embraced the ‘renewable energy’ agenda and announced all of Germany’s nuclear power plants would be gone by…well…this year. Eight of the country’s 17 were permanently closed in the immediate aftermath of Japan’s very own Chernobyl, yet the alternative to the system being phased-out overnight wasn’t necessarily very ‘Green’, reliant as it is on coal-fired electricity production; since 2011, this has led to an increase in deaths caused by fossil fuel pollution. Is the idea to save the planet by killing its inhabitants? Like many a political leader, Merkel seized upon renewable energy as a move to boost her short-term popularity, yet the swift winding-down of the nuclear power industry in Germany continued apace throughout her lengthy tenure in office; as things stand, there are a mere three remaining plants still operational today. Reliance on Russia for natural gas was underlined by the controversial Nord 2 pipeline project, which has yet to open for business; largely financed by Russian-owned energy giant Gazprom, final construction on the pipeline was suspended when Russia invaded Ukraine; Russia responded by slashing supplies of gas to Germany down to 20% of its capacity.

Despite pleas by the German nuclear power industry to extend the life of the three plants left when confronted by the prospect of an energy emergency following Russia’s response to sanctions, the German Government is refusing to budge and waver from its rigid Green commitments. Instead, Chancellor Olaf Scholz’s administration has announced severe restrictions on the use of electricity that will come into effect this winter. Anyone who either lived through – or has experienced second-hand via numerous TV documentaries – the power-cuts imposed upon the UK during the 1972 Miners’ Strike and the 1974 Three-Day Week will recognise some of the measures. To the no-doubt relief of muggers and cat burglars, street lighting will be one of the first casualties; this blackout will also be extended to the illumination of monuments, buildings and shop-fronts; moreover, heating of public buildings will be reduced with the exception of hospitals. Anyone wondering what these measures will make the German capital look like at night need only track down the footage of Piccadilly Circus deprived of its gaudy light-show 50 years ago. But it’s hoped the restrictions will save upwards of €10.8bn, so that’s alright.

Prior to the closure of three further plants at the end of last year, nuclear power was responsible for 13.3% of Germany’s electricity, whilst up until the fallout from the Ukraine situation, Russia was providing Germany with as much as 55% of its gas supplies; yes, it doesn’t exactly sound like economic sense to be dependent on such a notoriously untrustworthy foreign power for your fuel, but that’s the position Germany finds itself in. And it’s not alone. Russia was supplying the best part of 40% of gas across the EU before sanctions provoked a hasty reduction, and despite Monsieur Macron’s much-publicised freezing of gas prices and a cap on energy increases, neither measure will see out the winter, when gas and electricity will naturally be far more in demand that they are at the moment. The French are already switching off street lighting every night for around three-and-a-half hours in parts of Paris, but most are more concerned with the impact of restrictions in the workplace, and especially the home. Mind you, the Germans are way ahead in their Project Fear preparations, for the country is also looking forward to a fresh wave of Covid infections come the autumn, giving the population something else to look forward to before the fun-packed winter arrives.

According to the German Government, lockdowns will not constitute their strategy this time round. They’ve left such a damaging legacy in every country that imposed them that even Rishi Sunak, desperately seeking an 89th minute winner against ‘Stars in Their Eyes’ Thatcher Ms Liz, has publicly declared he thought they were a mistake. Any further school closures have also been frowned upon by German Health Minister, Karl Lauterbach; let’s be honest, the disastrous interrupting of children’s education all over again would hardly be a vote-winner. Instead, Germany has opted for the safe option of reintroducing and reinforcing mask-wearing on public transport as well as Covid tests being a requisite for entering any institution housing the vulnerable, such as hospitals or care homes. The World Health Organisation has also got its scaremongering hat on once more re the coronavirus; perhaps disappointed that Monkey-pox has been such an anticlimactic sequel to 2020’s blockbuster, the WHO has this week been issuing melodramatic predictions all over again.

‘It is now abundantly clear we’re in a similar situation to last summer,’ read the WHO statement, ‘only, this time the ongoing Covid-19 wave is being propelled by sub-lineages of the omicron variant…with rising cases, we’re also seeing a rise in hospitalisations, which are only set to increase further in the autumn and winter months as schools reopen, people return from holidays and social mixing moves indoors with the onset of colder weather.’ Yeah, move indoors to escape that colder weather, only to find it’s colder in than out due to power-cuts. At least the persistent lobbying of the pharmaceutical industry will be rewarded with the announcement that a new booster jab for the over-50s will be available in Blighty as of September, though cases here have fallen anyway, without the aid of yet another booster; stats show infections have declined nationwide across all age groups, with children unsurprisingly boasting the lowest levels – just as they always have done.

Alas, Covid can’t be blamed on Ukraine, even if the ill-thought-out policies to combat it that we endured in 2020 and ’21 are more responsible for the state we’re in (and the state we’ll be in this winter) than what’s currently going on in Eastern Europe. Still, entrusting Russia with the contract to supply Western Europe with so much of its gas was an arrangement that was hardly guaranteed to progress along a smooth, uneventful course with a man like Vlad at the helm, and the whole Ukraine situation is clearly playing no small part in the gloomy narrative of the moment. But the futile pursuit of the Green dream that has taken possession of so many Western Governments is one that can also take its fair share of the blame; our own Net Zero fantasy threatens to condemn more to fuel poverty than anything Russia can use as a bargaining chip, whereas Germany’s determination to exclude nuclear power as a viable option when its suicidal reliance on Russia for energy was destined to end in tears is an extreme example of what can happen when just the one basket contains all your eggs.

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FAR BEYOND THE PALE HORIZON

Roxy 2When it comes to pop music, familiarity may not necessarily breed contempt, but repetition can block the ears to the sensation that comes with hearing something for the first time; it’s almost impossible to recapture that sensation unless enough years go by in which the ears are spared further exposure to it – and tuning in to the predictable playlists of ‘oldies’ stations is something of a hindrance to the process. One doesn’t necessarily have to have been around at the time of the record’s release to have experienced said sensation, though perhaps to fully appreciate just how groundbreaking a piece of music was in its day, it probably helps if you haven’t already heard everything that came after it. Anyway, as we continue along the path of years being characterised by how many landmark anniversaries they contain rather than whatever the current excuse for pop music happens to be doing when nobody’s listening, this year contains the usual multitude of significant dates. A record that might easily be overlooked from the anniversary list takes us back half-a-century, which is difficult to comprehend when the track in question still sounds like the future, albeit a future we never reached. I’m talking about ‘Virginia Plain’ by Roxy Music.

Released 50 years ago this month, the debut single by the intriguing Art Rock band with the unique potential to appeal to viewers of ‘Top of the Pops’ as much as ‘The Old Grey Whistle Test’ followed hot on the heels of Roxy Music’s first (eponymous) LP, which was climbing up to its peak position of No.10 on the albums chart. Throughout 1972, the band had been steadily building a reputation as ‘one to watch’, cannily supporting breakthrough man-of-the-moment David Bowie at the prestigious Rainbow Theatre and catching the eyes and ears of a music press eager for the Next Big Thing. The divisions between Rock and Pop were becoming wider in the early 70s, with huge acts like Led Zeppelin and Pink Floyd flourishing on album sales alone, not even needing the regular stimulus of a hit single to keep them in the public eye as bands in the 60s had; in the singles chart, the likes of Gary Glitter, Sweet, Slade and T. Rex were cleaning up as a consequence, and it seemed as though Glam was for the teenyboppers whilst Prog was reserved for the students – one was made for the affordable 45, the other was made for the expensive LP.

However, with the release of his ‘Ziggy Stardust’ album (and its accompanying hit single, ‘Starman’), David Bowie paved the way for a strain of Glam that elevated the genre above the primal stomp and gave it a few musical and lyrical A-levels in the process. Roxy Music were able to capitalise on this climate, producing esoteric and eclectic sounds infused with pure pop melodies and presenting the package in the kind of kitsch, exotic dress-sense that was anathema to the dominant denim-clad Hard Rock brigade. But Bryan Ferry, the band’s founder member and frontman, had come up through the art school route with an appreciation of the visual and recognition of its importance in selling a band brand. The gatefold sleeve of the band’s debut album featured glamorous Ossie Clark catwalk model Kari-Ann Muller, whilst the individual portraits of the band inside complemented the cover, especially those of Ferry himself, synthesizer scholar Brian Eno and woodwind wizard Andy McKay.

As was fairly common at the time, no tracks were lifted from the debut LP as singles, even though several of them would have performed well if they had, encapsulating as they did Roxy’s unique blend of all pop that had gone before and all that was to come. With Bryan Ferry’s distinctive vocal delivery drawing on pre-Rock ‘n’ Roll stylists such as the crooners of the 40s & 50s as well as the quintessential English camp of Noel Coward, it was plain here was a band breaking with the recent past by borrowing from the distant past; but the inclusion of Eno’s experimental soundscapes looked forward, whilst Phil Manzanera’s guitar riffs and Andy McKay’s frenetic saxophone kept the band just about moored in 1972. It was an original and exhilarating mix that, coupled with Roxy’s louche, decadent twist on Glam fashion, made them stand out like a sore sequin. The fact they were prepared to launch an assault on the singles chart reflected Bryan Ferry’s passion for the three-minute pop song, and when it eventually appeared Roxy’s debut 45 was destined to be no run-of-the-mill hit. It had to distil everything that had made the LP such a vibrant and exciting listen into a short enough timespan to earn the band the coveted ‘Top of the Pops’ appearance. And Roxy rose to the challenge in style.

A TOTP audience that was still recovering from the seismic shock of Bowie’s ‘Starman’ performance barely a month before was ill-prepared for the debut of Roxy Music on the show, which was broadcast on 24 August. Phil Manzanera’s ‘fly’ sunglasses, Brian Eno’s glistening gloves, drummer Paul Thompson dressed as a circus strongman in ‘Clockwork Orange’ mascara, Andy McKay playing the oboe with his hair tied back as though a Samurai warrior, bassist Rik Kenton passing for a gawky schoolboy, and a surreally suave Bryan Ferry in glittering eye-shadow and a sparkly jacket designed by Anthony Price. They resembled regal aliens beamed down from an early 70s idea of what pop stars in the Year 2000 would look like. And if the presentation of ‘Virginia Plain’ was a treat for the eyes, the record itself was a blistering banquet of sonic delights.

Subverting the standard formula of the pop single, ‘Virginia Plain’ fades in and ends abruptly rather than the other way round; but it’s also a song without a chorus, a song whose title only surfaces as the very last line. The first verse follows what sounds like an autobiography of the band struggling to get a recording deal, yet ‘We’ve been around a long time’ wasn’t necessarily the case, as Roxy didn’t spend years paying their dues on the college circuit; they were far more ambitious and went for the music business jugular from the off. As the song goes on, Ferry’s lyrics expand to encompass the kind of jet-set lifestyle the singer hopes success will bring – ‘Flavours of the mountain streamline/midnight blue casino floors/Dance the cha-cha through till sunrise/opens up exclusive doors’; this continues to the final verse – ‘Far beyond the pale horizon/some place near the desert strand/Where my Studebaker takes me/that’s where I’ll make my stand’. In the song that introduced the majority of the record-buying public to Roxy Music, Bryan Ferry sets his stall out and plots his future for all to see.

Whereas in later years, the prefix ‘Bryan Ferry and…’ became commonplace – largely due both to the public’s failure to distinguish between Roxy Music and Ferry’s concurrent solo career and Ferry’s eventual dominance of the band – early Roxy is very much a team effort. ‘Remake/Remodel’, the opening track on their debut album, contains tongue-in-cheek passages where each member of the band has two bars to showcase their individual instrumental skills; and ‘Virginia Plain’ offers similar opportunities to demonstrate they’re far from a one-man band, especially the instrumental section building up to the final verse, where Phil Manzanera and Brian Eno both shine. There’s no audible kitchen sink in ‘Virginia Plain’, but it sounds like pretty much everything else is present. 50 years old and it remains one of the great debut singles, probably because not only does it not sound like anything else from 1972, it still doesn’t sound like anything else you’ve ever heard.

The single served as the launch-pad for twelve months in which Roxy Music were the most innovative and inventive band in Britain; their second album, ‘For Your Pleasure’, was released in March 1973 and is arguably the band’s finest LP, with ‘Do The Strand’, ‘The Bogus Man’ and ‘In Every Dream Home, A Heartache’ all masterpieces of Roxy’s sublime blend of pop and the avant-garde. Then the strain of containing two such gigantic artistic egos as Ferry and Eno finally provoked a split in the ranks and the latter left the fold; although there were innumerable great songs to follow, Roxy Music were never quite the same again. And no other hit quite matched the superlative originality of their first – half a bloody century ago.

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FINAL SCORE

Football RadioSure, it’s not the end of the world; but it’s the end of something. The BBC’s decision to drop the classified football results from the long-running ‘Sports Report’ sounds like one of those crass decisions made by a new controller of the station in question (5 Live) who’s keen to make his mark and shake things up a bit. It’s a familiar pattern on BBC radio, like when the Radio 4 UK Theme was axed back in 2006. Commissioned in 1978 to open the station every morning after the handover from the World Service, the medley of traditional English, Scottish, Welsh and Irish melodies heralded the dawn of the day’s broadcasting and quickly became as much of a wireless institution as the theme tune to ‘The Archers’ or the sound of ‘Sailing By’ announcing the arrival of the Shipping Forecast. The man who wielded the axe for the UK Theme was the then-controller of Radio 4, Mark Damazer; many were suspicious this was an action motivated by embarrassment within the ivory corridors of Broadcasting House that such a popular piece of music didn’t reflect the way the BBC likes to think of the nation, though Damazer claimed what he described as ‘a pacy news briefing’ was what listeners wanted first thing on a morning. Well, perhaps it was what the BBC overlords felt they ought to want first thing on a morning. After all, they know what’s best for us.

At a time when theme tunes introduced virtually all radio shows, the debut of ‘Sports Report’ in January 1948 naturally came with its own sonic calling card. ‘Out of the Blue’ was in the same vein as other jaunty themes to be found on the BBC Light Programme during this era, such as ‘Music While You Work’ or ‘Top of the Form’; it fitted perfectly into its times, yet along with the aforementioned theme from ‘The Archers’ and ‘Sailing By’ – as well as the theme to ‘Desert Island Discs’ – it’s one of the few to survive into the 21st century. ‘Out of the Blue’ has long since passed the stage of being regarded as old-fashioned, and its anachronistic sound is now recognised as the aural equivalent of a vintage item of clothing, cherished precisely because it is so antiquated and out of step with the here and now. In a sense, such a tune becomes timeless if it sticks around long enough; had it been replaced in the 80s or 90s, those replacement tunes would now sound more dated and old-fashioned than ‘Out of the Blue’ ever will.

The theme to ‘Sports Report’ is one of those pieces of music so bound up with the time and day of its transmission that it becomes inseparable from it, so utterly woven is it into the fabric of the Saturday teatime experience. Indeed, it’s as impossible to imagine hearing it on any other day as it would be to listen to a Christmas song in the middle of July. But it’s not simply ‘Out of the Blue’ itself that has been regarded as a time signal for millions of listeners for more than 70 years; what have always traditionally followed it are the classified football results. Remarkably, this weekly roll-call of winners and losers has only ever been recited by three different voices for the entire run of ‘Sports Report’. John Webster held the post from 1948 to 1974; James Alexander Gordon was the reader from 1974 to 2013; and Charlotte Green succeeded him, occupying the hot seat until the decision to drop the results was suddenly announced. The man in the middle of this trio with golden vocal chords is the one most of us grew up with. James Alexander Gordon’s famous delivery, in which his intonation would rise and fall to indicate whether the home team had won, drawn or lost before revealing how many goals they’d scored or conceded, was a hallmark of listening to the classifieds for almost 40 years, and one that left the listener eager to hear every result, not just the one involving their own team.

Even with the advent of ‘Grandstand’ on TV and its super-fast ‘tele-printer’ bringing the results to the viewer in the comfort of their living room, the classified football results on the radio were still a vital source of information for the supporters, especially those on the long journey home from an away game. If one were lucky enough to be making that journey home by car after a cold, wet fixture in some drab provincial town, the sound of the afternoon’s results being read by James Alexander Gordon would be as soothing to the occupants of the vehicle as a roaring fire would be to the fair-weather fan who stayed at home. I suppose it is this warm association that has given the results on the radio such an affectionate place in their hearts of football followers for decades, and why their abrupt removal has been met with the same kind of anger that the axing of the Radio 4 UK Theme provoked in 2006. A couple of years ago, a book I wrote about the 1970 FA Cup Final – ‘No Place for Boys’ – contained a passage on the subject of how significant the reading of the classified results on ‘Sports Report’ has continued to be, and I reproduce it here to spell it out…

For generations of football fans, even those who can now access every result via their Smartphones seconds after the final whistles have been blown, tuning in is still key to the experience of following the sport in Britain. If football is a religion, then the ritual of catching ‘Sports Report’ late on a Saturday afternoon is one of its holiest ceremonies. In a curious way, hearing all those score-lines coming in from across the country is one of the rare moments when that country actually feels like the otherwise-mythical One Nation, with millions of its citizens sharing the same sensations at the same time – all the way from Elgin City FC down to Plymouth Argyle. And whichever end of the country you’re at, all you need is a radio and you’re part of it.

The reason the BBC has given for dropping the classified football results from ‘Sports Report’ is that live commentary on the Premier League fixture at 5.30pm means the programme has been shortened and there’s no room for the results in the mix anymore. Sounds a bit like ‘the pacy news briefing’ excuse Mark Damazer used. This particular excuse was also expanded upon in a rather predictable way, citing the availability of other, faster means of accessing the day’s results than the traditional practice of waiting to hear them at 5.00. This misses the point entirely. Just as far more landlubbers tune into the Shipping Forecast than fishermen – who could access all the shipping news they need in a superior form to ye olde Long Wave via satellite tracking systems – the fanatical Sky Sports subscriber who rarely takes his eyes from the screen as scores are flooding in throughout the afternoon is not the target; many listeners who couldn’t care less about the sport switch on simply to hear the names being recited. In the flesh, Crewe Alexandra or Queen of the South are no more exotic locations on the map than Cromarty or German Bight, but when their names are joined together for the recital, they acquire a uniquely poetic resonance that renders them almost romantic. And there’s not a lot of romance about in 2022.

Expecting anyone at the BBC today to remotely understand their listeners is a tall order; dropping the classified football results is merely another example of not only how out-of-touch the Beeb is with its audience, but how it continues to view it with condescending contempt. When the ground beneath the feet is as insecure and unstable as it is at uncertain and often unnerving times like these, people tend to be naturally drawn to the few remaining signposts they feel they can rely on to reassure them all is not lost. During that first bewildering lockdown, millions retreated into the safe womb of nostalgic telly, music and pastimes, desperately seeking something that could take their minds off the horrors of the present day. We may be through the worst now, but the scars of that unsettling time run deep and variations on the Project Fear formula are keeping many in a state of emergency. The yearning for the kind of security that is connected to less stressful and more innocent times remains potent. The classified football results were a fixed point at a fixed time on a fixed day, and had been since most of our parents were in short pants. Taking them away now is not a great idea.

© The Editor

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TO HULL AND BACK

Cover - CopyConsidering the vast personality chasm between them during their lifetimes, there’s an irony to the fact Philip Larkin and Ted Hughes have been involuntary united in the afterlife by finding themselves on the hit-list of the permanently offended, those fanatical rewriters of history who are determined to find fault with any revered figures of the past who don’t reflect their contemporary dogma back at them. Mind you, both Larkin and Hughes had their detractors when they were alive and kicking. The latter was targeted by extreme activists of the feminist persuasion, convinced he drove his wife, the poet Sylvia Plath, to an early grave – despite the fact the troubled Plath had attempted suicide ten years before she succeeded, and at a time when she had yet to meet her future husband. Hughes became Poet Laureate back when it was a job for life, though he only replaced Larkin’s friend John Betjeman in 1984 because first choice Larkin had turned down the honour; as it turned out, Larkin himself died just a year after Betjeman, so it was probably just as well the post went to the man Larkin referred to as ‘The Incredible Hulk’.

Criticism of Philip Larkin in his lifetime tended to be criticism of his actual poetry; misreading of this led to the man himself being (inaccurately) portrayed as a miserable curmudgeon. It was only when his private letters were published several years after his death that the more familiar criticism of the kind that is levelled at him with more ferocity today emerged. He’s considered ‘problematic’ because he’s viewed as right-wing, racist and misogynistic. As far as being right-wing goes, it is true that his father – who was extremely right-wing – was a fan of Adolph and went so far as to take his young son on a tour of Nazi Germany before the War, even attending the Nuremburg rallies. Yet, one of the curious ironies of Larkin’s life is that his private grumblings about ‘immigrants’ went hand-in-hand with his passionate love of Jazz and its practitioners, most of whom were black. The record he said he’d rescue from the waves on ‘Desert Island Discs’ was by Bessie Smith.

Similarly, his allegedly ‘sexist’ attitude towards women derives largely from his fondness for soft porn revealed in his published letters, yet this accusation is contradicted by the fact he loved women so much that at one time he had three on the go; and one of this trio, university lecturer Monica Jones, was the longest love of Larkin’s life. Their relationship spanned almost 40 years. Despite their intellectual and emotional compatibility, the only time they actually lived together was during the last couple of years of Larkin’s life, when he cared for Monica following a spell she’d had in hospital. For a man who physically resembled a gawky Eric Morecambe, Larkin evidently possessed an abundance of charm and charisma that attracted women, something that the caricature of him as a grumpy old git would have negated were it true. I suppose one could say conducting three simultaneous affairs doesn’t necessarily hold him up as ideal husband material, but all of Larkin’s faults and foibles when it comes to the three factors that remain sticks to beat him with simply show him for what he was – a human being capable (as are we all) of ‘unclean thoughts’. And it is this humanity that comes across so vividly in his verse.

It’s not unreasonable to surmise that one reason why Larkin was sometimes received less than enthusiastically by the literary establishment in his lifetime was the fact he largely shunned the creative cliques of the cocooned capital. Larkin was a poet of the provinces, the finest poetic commentator on the mood and mores of immediate post-war Britain as it existed outside of London. But then, he was a product of the provinces, born in Coventry 100 years ago this month. Once he’d escaped the stranglehold of Auden and Yeats as key influences on his early work, Larkin gradually began to develop a uniquely individual voice that combined the melancholy beauty of a fellow poet like Betjeman with the bleak black comedy of a playwright like John Osborne. His words flow with a literary flourish, but they also speak in simple and often blunt English that anyone born after 1945 can relate to. Indeed, what qualifies Larkin as a poet whose reputation in terms of his art remains so strong is that, along with Betjeman, he’s one of the few poets of recent decades whose lines are routinely quoted by those not necessarily regarded as bookworms.

One of the most quoted is from ‘Annus Mirabilis’, his astute observation on being too old to be a participant in the Swinging decade he just missed out on, something many born on the wrong side of WWII must have mused upon in the 60s – ‘Sexual intercourse began in 1963 (which was rather late for me)/Between the end of the Chatterley ban and The Beatles’ first LP’; as he was someone who had to navigate the oppressive etiquette that dictated clandestine courtship in the 1950s, it must indeed have been frustrating to watch a generation emerge who weren’t bound by such rigid regulations. Then of course, there are the infamous opening lines of ‘This Be The Verse’ – ‘They fuck you up, your mum and dad/they don’t mean to, but they do/They fill you with the faults they had/and add some extra, just for you.’ A misconstrued poem, certainly; it has nothing to do with the juvenile sensibilities of some anti-parent pop song, but actually offers a sympathetic perspective on how an individual inherits both the good and bad that their own parents themselves inherited. ‘They were fucked up in their turn’, he goes on to say, before concluding, ‘Man hands on misery to man/It deepens like a coastal shelf/Get out as early as you can/and don’t have any kids yourself.’

His two most famous poems quoted in the previous paragraph were penned in 1967 and 1971 respectively; by the time Larkin was offered the laureateship in 1984, his purple patch had somewhat run dry and he himself felt all his best poems had probably been written. He was also averse to the pressures that being Poet Laureate could possibly heap upon the creative juices, something he expressed to John Betjeman in a profile for the BBC’s ‘Monitor’ series in 1964. The idea of having to compose ‘on demand’ was not something that appealed to him, and even the most devoted disciple of Betjeman or Hughes could hardly claim the two poets’ finest works were the ones they were obliged to write as part of their Laureate duties when responding to a royal event, whether that be a marriage, a birth or a jubilee. Such a duty would have been anathema to Larkin, who recognised the greatest poets created in response to impulsive flashes of inspiration not dictated by outside forces, but by the erratic influence of the Muse. Betjeman also envied Larkin’s day job, that of head librarian at Hull University, a post he accepted in 1955 and held until his death at the age of 63 thirty years later.

His qualifications for the job were past stints working in the university libraries of Leicester and Belfast, but in Hull he found the perfect city for his particular worldview, being situated (as it often feels to its inhabitants) on the edge of the world, with endless grey vistas looking out onto a void where the nearest landmass is Scandinavia. Although already a published author, Larkin felt he needed more to his day than wrestling with the Muse; as he wrote in the poem ‘Toads Revisited’, ‘No, give me my in-tray, my loaf-haired secretary/my shall-I-keep-the-call-in-Sir/What else can I answer, when the lights come on at four/at the end of another year?’ And his post in Hull was no vanity project; he threw himself into it with gusto and oversaw the reconstruction of the building as well as instigating the installation of a computerised records system years before it became common practice. Perhaps the fact he had a life beyond the written word, one that infused his poetry with such wry observations on the human condition (something that eludes many poets permanently positioned as ‘outsiders’) gave him an accessibility that continues to speak to anyone who acutely feels the limitations of life whilst also seeing the unsung joy it occasionally throws up with the kind of laconic humour entirely absent from those who seek to block, ban, censor, and cancel.

© The Editor

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THE WRONG SORT OF RAIN

Dr FosterUnless you happen to be six or seven-years-old – and I’m guessing you’re not – you’ll have lived through enough hot summers to know heat-waves are usually followed by thunderstorms. Indeed, there’s nothing quite like an outburst of summer rain at the end of a sweltering day for washing away the stuffy mugginess and cleansing your parched person after weeks of exhausting temperatures. Even 1976 – yes, even 1976 – saw the drought and the ladybird invasion and ‘Save it!’ stickers and street-corner standpipes eventually consigned to a lifetime of future anecdotes from those who were there when the heavens opened. Thankfully, we don’t live in a country stuck with the one climate all year round, so we’re all aware of the usual pattern when we’ve experienced an occasional bout of extremely hot weather. I wish someone would alert the MSM to this fact. Sometimes it seems their hysterical headlines are penned by those very six or seven-year-olds whose memories don’t stretch back far enough to recognise an annual pattern when it happens.

According to ‘journalists’ suffering from this particular strain of arrested development, ‘The UK’s heat-wave is predicted to come to a dramatic end this week!’ In an unprecedented move, weather forecasters apparently predict it’ll give way to thunderstorms. Fancy that. Now, for those averse to the kind of temperatures the country has been basking in for the last few weeks, the inevitable rainfall will come as one hell of a relief, but it’s highly unlikely they’ll be as shocked by this news as the headline-writers appear to imagine. And if the remarkable revelation that a hot spell will be followed by heavy showers isn’t enough to stoke the requisite panic in the reader, the Project Fear narrative our media seems addicted to informs us that floods are on the way! From the apocalyptic portrait of Britain as some sort of scorched earth African desert that could provoke a finger-wagging ‘told you so’ from Little Miss Thunberg to the unleashing of forces requiring the swift building of an ark, we swing from one crisis to another with barely a Pinter-esque pause for breath in between.

If one were to be a tad more generous towards the headline-writers, one might attribute their open-jawed surprise re the way weather works to a more familiar short-term memory loss. I guess it is fairly commonplace once you’ve lived long enough; by the time we get a year away from the previous summer, for example, I can barely remember if it was a warm one or a wet one last year. I can recall a few exceptionally hot days around six years ago, but only because the heat is attached to an especially vivid memory unrelated to the climate of the moment. Other than that, I see the stats for the UK’s highest temperatures on record and (unless it’s 1976), I would’ve struggled to put a date on said scorchers anyway. Of the top ten hottest days ever recorded in Blighty, all-but three have come this century, with a day from this very summer – 19 July in Coningsby, Lincolnshire – now having deposed 25 July 2019 in Cambridge as the official winner. And it seems only right to reveal the temperature in old money: 104.5 ºF – which is extremely bloody hot. Do you remember it being a hot summer in 2020, 2015, 2006 or 2003, though? I can’t say I do, but they were some of the other years figuring in this top ten, even if we’re only dealing with isolated days rather than a uniquely prolonged dry spell like 1976.

Anyway, as a nice man at the Met Office has explained, the welcome rains won’t cure the drought that has led to the standard hosepipe bans in the sweatiest corners of the country. This is on account of the fact that ground rendered so dry by constant exposure to the kind of heat the red-faced folk of Coningsby endured last month will struggle to absorb the anticipated downpours. A good deal of the water will not therefore soak into the soil and will instead run off it, leading to flash floods. Not a nice prospect for those riverside towns and villages accustomed to a rude awakening whenever this type of rain sends their neighbouring waterways redirected through their living rooms, yet this is not a nationwide crisis yet. Some parts of the country will still be baking in Fahrenheit temperatures of the upper 80s, whereas others will receive the ‘dramatic’ thunder and lightning we’ve been promised. Eight locations in England have now been officially designated drought areas, meaning images of wildfires and shallow reservoirs can carry on being run by news outlets. The insufferable humidity that usually serves as a prologue to a summer storm will be with us, so the experts say, and then rain will stop play. Of course, if investment in infrastructure was a by-product of privatisation, perhaps there wouldn’t be the outrageous amounts of water reserves lost through rotting pipes that have left water companies so ill-prepared for the current crisis, but that would mean depriving directors of their hard-earned bonuses, so we shouldn’t judge them too harshly.

With the coming of the UK’s very own monsoon season, Project Fear has ramped-up the drama by prophesising power-cuts, along with bus and train cancellations. After all, the imminent ending of a story that has generated so many of those hysterical headlines this summer needs to be superseded by another, lest the people slide into complacency and forget the end of the world is nigh. I guess the rains will keep the MSM going until the long-awaited Winter of Discontent is with us – and there’s a shilling for the first person to spot a ‘coldest winter since 1963’ headline. Naturally, this winter simply has to be the coldest since 1963 in order for the cost-of-living crisis story to reach its correct apogee from the perspective of the media. We’ve already been warned gas power stations may be switched-off before we get there as part of an emergency strategy to prevent 70s-style blackouts come the winter – an operation that goes by the suitably dramatic name of a ‘war-game’ plan. Not that any of this reduced power will be reflected in lower energy bills for the customer, mind.

Mercifully, the UK isn’t as dependent on Russian gas as, say, the Germans fatally are; but a hands-across-the-ocean approach to sharing energy with some of our European neighbours could cost us. Interconnectors link Britain with France and Norway, giving Brits top-ups from both nations when the UK network is running low. News that the Norwegians might be forced to ration such exports isn’t encouraging, and some in the industry have claimed the UK’s onshore storage amounts to gas that will span no more than 10 days. Predictions of the kind of energy-saving blackouts that anyone over the age of 50 will recall from candlelit childhoods are being touted, with one insider suggesting a possibility of limiting the use of gas and electricity to barely six hours a day. An ‘unplug-at-home January’ – as it’s been referred to – is the perfect element to add further colour to the forthcoming Project Fear winter narrative we can look forward to. Throw the recession into the mix and there should be enough to keep the MSM going till next spring, if we haven’t all frozen or starved to death by the time it comes around.

What to do? Well, standing for Parliament could be one way to survive the energy apocalypse. Over the past three years, taxpayers have forked-out £420,000 to cover the cost of heating the second homes of honourable members, with 405 MPs claiming energy expenses since April 2019, according to a report by Open Democracy earlier this year. One of those MPs was a certain Ms Truss. No wonder people are taking notice of the findings of this report now more than they did when it was published in the spring. Hot on the heels of Climate Change and Covid and lockdowns and Monkey Pox and a global recession and a summer drought, the MSM has been spoilt for choice, and it looks as though they’ve got plenty more to work with to ensure many a sleepless night. Where’s Nick Ross when you need him?

© The Editor

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THEIR SATANIC TRAGEDIES

Book BurningA painfully prescient quote from Salman Rushdie appeared on Twitter yesterday – ‘The moment you declare a set of ideas to be immune from criticism, satire, derision, or contempt, freedom of thought becomes impossible.’ I’ve no idea how old this quote is, but it’s reasonable to assume it was written in the long shadow cast by the fatwa of 1989. Since that groundbreaking moment of intolerance on the part of an entire State, intolerance towards freedom of both thought and speech, whereby any individual expressing an opinion deemed ‘wrong’ is fair game to be brought to heel by whatever means are at their opponents’ disposal, has filtered down to the masses, facilitated and fuelled by the ubiquitous social media that didn’t exist when Rushdie wrote ‘The Satanic Verses’ in 1988. Previously, a novelist in the West faced potential censure from publishers or book stores if they penned a work regarded as ‘controversial’, yet having a price placed on their head by the Islamic Mafiosi running Iran was a new development; just as the 1570 declaration of Pope Pius V that Queen Elizabeth I was a ‘heretic’ gave the green light to radical Catholics of the 16th century, the edict issued by the Ayatollah Khomeini five months after the publication of Rushdie’s novel not only placed the writer’s life in peril, it legitimised violent reprisals on the part of any mental fundamentalist if they felt their outrage was justifiable.

Amongst numerous other atrocities committed over the past two or three decades, the ‘Charlie Hebdo’ massacre of 2015 can be traced back to the 1989 fatwa, providing yet one more extreme example of how the offended believe they are entitled to exact revenge to ease their offence. At the other end of the scale, Hollywood bigwig Will Smith felt similarly entitled to stroll up to comedian Chris Rock at the Oscars in the middle of his routine and sock him on the jaw simply because he didn’t like what the comic was saying about his missus. In comparison to the serious attempt on Salman Rushdie’s life at an event in New York State yesterday, Smith’s petulant punch seems trivial, yet both he and the lunatic who stabbed Rushdie and left him in a critical condition felt their actions were justified because they’d been offended. Where that leaves either a vulnerable novelist or a comedian when alone on stage, self-censoring their freedom of expression for fear an audience member might take offence at something they say and then leap onstage wielding a weapon or a fist, is worrying when a belief in one’s own self-righteous entitlement has spread from the ivory towers of a hardline Islamic regime to any disgruntled member of the public. An unpleasant precedent has been set.

It may be a blink in the eye of the elephantine memories of Radical Islamists – after all, that has a vintage of centuries – but 33 years have now passed since the Ayatollah delivered his death sentence on Salman Rushdie in absentia; therefore, the understandable security precautions that were taken in the early days of the author’s exile from polite society have been largely relaxed since. A famous story emanating from those days concerns a visit from celebrity chef Nigella Lawson, who was cooking a meal for Rushdie when said foodstuff ‘exploded’ in the oven, causing Rushdie to dive under the sofa in a manner reminiscent of citizens sheltering from the Blitz. It’s no wonder he was jumpy. Various people associated with his most notorious novel have met far worse fates in the last 30-odd years, and Rushdie naturally figured he was through the worst; he even parodied his situation on an episode of ‘Curb Your Enthusiasm’, when Larry David sought advice as he went into hiding following his announcement he intended to produce a musical based on the fatwa. Unfortunately, that joke isn’t funny anymore.

The Iranian Government has distanced itself from the Ayatollah’s decree since around 1998, though so far-reaching was the initial proclamation that the growth of Radical Islamist networks and various terrorist collectives this century has meant the message has never really gone away; there was even a bounty of $3 million offered by an Iranian religious foundation in 2012, meaning Rushdie has continued to exercise a degree of caution when it comes to public speaking. It’s interesting that the provocative burning of books on British streets in certain cities with a large Muslim population first became a regular sight in the wake of the furore surrounding ‘The Satanic Verses’, as did the appearance of those openly advocating the assassination of Rushdie on British television without being challenged – including the otherwise moderate Muslim convert Yusuf Islam, AKA singer Cat Stevens; these stunts went unpunished by police reluctant to be accused of racism.

One might say the inaction of authorities then has left a devastating legacy in the UK since; everything from the terrorist cells responsible for appalling carnage in London and Manchester in the 2010s to turning a blind eye to the insidious ‘grooming gangs’ in Rochdale to the teacher in Batley whose school was besieged by the local Muslim Gestapo in 2020 and remains in hiding due to a glaring absence of support from teaching unions – there’s a direct connection stretching all the way back to failure to act in 1989. Even the response of some of Rushdie’s fellow creative artists at the time saw the debut of the kind of gutless self-preservation that has subsequently become a hallmark of the artistic fraternity during the age of ‘cancel culture’, with even fewer prepared to stand up and be counted when the online hounds are unleashed to silence any artist who has dared to venture an opinion contrary to the consensus. Silence is compliance when one of your own is under threat; and the misguided solidarity shown towards a terrorist organisation like Hamas by the far-left in the West merely because their arch-enemy is Israel – remember ‘Queers for Palestine’? – is another risible strain of this; I’m just wondering how the Pride flag-waving zealots will react when the next World Cup is held in a Middle Eastern autocracy where freedom of expression is effectively outlawed – ‘Queers for Qatar’?

According to police, Salman Rushdie was poised to speak at the large outdoor amphitheatre at the Chautauqua Institution in New York State on the ironic topic of artistic freedom when a man ran on stage and stabbed him in the neck and torso; the attacker was swiftly – if belatedly – apprehended by security and Rushdie was rushed to hospital by helicopter. He is currently on a ventilator after surgery, with the author’s spokesperson telling the press that ‘Salman will likely lose one eye; the nerves in his arm were severed; and his liver was stabbed and damaged.’ The culprit was arrested and is apparently sympathetic to the Iranian Government; if the attack was fatwa-influenced, the Iranian Government he’s seemingly sympathetic to must be the one of 1989, but Radical Islamists tend to live in the past so perhaps that’s no great revelation. I suppose the fact Salman Rushdie was one of the first artists to be exposed to the unhinged wrath of extreme opponents to the foundation stone of Western democracies means this grotesque attack coming at a time when everyone is susceptible to assault if they dare to speak their mind gives it the grim feel of a full circle being reached.

Voltaire’s famous quote on freedom of speech tends to be exhumed for paraphrasing yet again at moments such as this, even if many who spout about freedom of speech don’t necessarily live by Voltaire’s words; for far too many today, free speech is fine as long as it chimes with one’s own opinions; when it doesn’t, it’s deserving of censure, either by organising an online campaign of vile trolldom or going one further, as the head-case who attacked Rushdie did. If hate crime exists at all, surely something like this is the most barbaric example of it, not misgendering some delicate non-binary nitwit on Twitter. As a human being suffering such a brutal attack, one hopes Salman Rushdie survives it; as an increasingly-rare artist advocating freedom of thought, speech and expression, it’s absolutely vital he does.

© The Editor

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PHYSICAL GRAFFITI

OliviaNext year’s Eurovision being staged in Blighty by default isn’t necessarily a unique event; the tradition of one year’s winning nation hosting the following year’s Contest has been disrupted several times in the past, and the UK has stepped in to host proceedings as a substitute more than once, usually when the winning nation has found staging the contest an impossibility, the last time (until 2023) being 1974. Luxembourg had claimed the crown in 1973, but the Grand Duchy’s second consecutive win proved to be a financial bridge too far for the principality and Britain stepped in again, nominating the Brighton Dome as a venue. Of course, a certain four-piece from Sweden eventually captured the headlines with a stomping slice of sub-Glam Rock called ‘Waterloo’, and every other performance that year tends to linger in Abba’s shadow, despite the 1974 Eurovision producing a record number of UK hits. Aside from the celebrated chart-topping winner, the runner-up – Italy’s Gigliola Cinquetti with ‘Si’ – reached No.8; Holland’s third-placed entry, ‘I See a Star’ by Mouth & MacNeal, peaked at the same position; and the UK’s very own ‘Long Live Love’ made the charts at No.11; the singer of that song was Olivia Newton-John.

The sad news that the British-born Aussie siren has passed away following a long on-off battle with cancer at the age of 73 is bound to provoke a bout of melancholic nostalgia in anyone of a certain age, particularly those (like me) whose bedroom walls she provided the first female presence upon. Remember poster magazines? They were regular fixtures on newsagents’ shelves in the 70s; they’d contain text on each page and would then be unfolded to reveal a huge poster of the featured subject on the flipside of the text. Frankenstein’s Monster and King Kong had been the first such poster magazine stars of my own personal childhood gallery until the 1978 movie version of ‘Grease’ came along and ushered in a different era, whereby pop stars replaced fantasy figures on the wall. Olivia Newton-John in the black satin pants she apparently had to be sewn-into for ‘You’re the One That I Want’ decorated said wall for a few months that year, upholding the appeal of the ‘bad girl’ that Suzi Quatro had monopolised with such memorable sensual vitality a few years earlier.

This Olivia was in direct contrast with the sweet girl-next-door version of ‘Sandy’ that constituted the majority of ‘Grease’, providing the movie with a climax that those who were around at the time tend to remember as the most iconic sequence of the film. Like the rest of the cast of the original high-school musical, Olivia Newton-John was more than a decade away from school age when making it (she was pushing 30), but it gave her two of the best-selling singles in UK chart history in 1978, both of which were duets with co-star John Travolta. ‘You’re the One That I Want’ was No.1 for nine weeks, whilst ‘Summer Nights’ managed seven. A couple of years later, ‘Xanadu’ may have been a movie savaged by the critics, yet it still produced another chart-topper in collaboration with the Electric Light Orchestra (ELO’s only No.1); and the following year, Olivia’s star was in the ascendancy on the other side of the Atlantic when she pushed the sexuality of satin pants Sandy into more dubious lyrical territory with ‘Physical’, which topped the Billboard Hot 100 for ten weeks.

It was all a far cry from the wholesome songstress whose first hit was a cover of Bob Dylan’s ‘If Not For You’ a decade before, a breakthrough followed by forays into radio-friendly Country Pop like ‘Banks of the Ohio’ and ‘Take Me Home, Country Roads’. She’d arrived back in her homeland after spending the majority of her childhood in Australia, making the same return journey as The Bee Gees around the same time. Born in Cambridge in 1948, the daughter of an MI5 officer who’d been on the Bletchley Park Enigma code-cracking team during WWII, she attempted to slot into the showbiz style of the biggest Brit female stars such as Lulu, Sandie Shaw, Cilla Black and Dusty Springfield once she returned to the UK as the winner of an Aussie talent contest. All had progressed from the charts to hosting their own prime-time BBC variety showcases, whereas Olivia quickly found herself effectively adopted by Cliff Richard and The Shadows, appearing regularly on Cliff’s early 70s TV show and becoming romantically involved with Shadows guitarist Bruce Welch; when she ended the relationship, a devastated Welch attempted suicide. Thankfully, the attempt failed and Olivia Newton-John continued to progress along the path established for UK pop ‘dollybirds’ by being selected to represent the nation at the Eurovision Song Contest in 1974.

Like Sandie Shaw and Lulu before her, Olivia wasn’t keen on the song the public voted for her to perform at the Eurovision, but she did her duty and gave her all to a plodder that was very much in a staid tradition that Abba blew out of the water overnight. A fourth-placed finish would’ve been hailed as a triumph in more recent years, but in 1974 it was regarded as a bit humiliating. Thereafter, Olivia moved away from the MOR circuit and resumed her flirtation with Country and Western-flavoured sounds; this paid off in the US, where she scored a No.1 hit in 1974 with ‘I Honestly Love You’; the success of this song in the States – and its chart-topping follow-up, ’Have You Never Been Mellow’ – prompted her to relocate there in the mid-70s as her British hits dried up. It was a timely move. Aside from 1977’s ‘Sam’, which reached No.6 in the UK, Olivia didn’t trouble the British charts again until the phenomenal success of all the ‘Grease’ singles in 1978, including her solo ‘Hopelessly Devoted to You’, which was kept off the No.1 spot by The Boomtown Rats’ ‘Rat Trap’.

After establishing herself as the predominant female pop star in the US with ‘Physical’, Olivia Newton-John’s stateside star surprisingly faded swiftly thereafter, overtaken by younger upstarts such as Madonna and Cyndi Lauper. After taking time out to marry her long-time boyfriend Matt Lattanzi and become a mother, she returned later in the 80s, but found even younger newcomers like Debbie Gibson and Tiffany occupying the ground she’d previously dominated, and she never regained that ground despite staging various comebacks that carried her into the 90s. However, all of this was placed on ice when she was diagnosed with breast cancer in 1992. Despite winning that stage of the battle, the cancer returned both in 2013 and 2017; the latter proved to be a tougher opponent than her previous bouts and it ended up spreading to her bones, causing her so much pain that she turned to cannabis for relief and ended up becoming a vocal advocate for its medicinal use.

Aside from Bruce Welch’s attempted suicide, the most notable incident in Olivia Newton-John’s personal life was the strange disappearance of her post-divorce, on-off boyfriend Patrick McDermott, who mysteriously vanished from a fishing boat off the coast of Los Angeles in 2005; persistent rumours that he faked his own death have been compounded by the fact that his body has never been found. Their relationship had already ended around the time of his disappearance and she married again in 2008, a union that lasted all the way to her death. I guess the announcement that the cancer which had bedevilled her for the best part of 30 years has finally claimed her provides a poignant opportunity to reassess her lengthy career now that there will be no further comebacks.

Although not an ‘artist’ in the vein of a Joni Mitchell or a Kate Bush, Olivia Newton-John nevertheless had a fascinating journey that took her all the way from Australia to BBC light-entertainment and from Hollywood to US pop royalty – and one could say she paved the way for the likes of Kylie Minogue, Britney Spears and Christina Aguilera. Whatever her legacy, Olivia Newton-John made a mark that, for a brief period, placed her at the top of a showbiz tree that is no mean feat to reach. And the image of her stubbing out her cigarette beneath stilettos is one that will remain a potent snapshot of 20th century pop culture for however long the shadow cast by 20th century pop culture lingers. Right now, it seems like it will linger for a hell of a while.

© The Editor

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THERE MAY BE TROUBLE AHEAD

TrussShe may have sped ahead of her solitary rival in a leadership race for the most select of audiences – and she is indeed fortunate to be up against a man so adept at shooting himself in the foot; but Liz Truss (whose name always sounds like it belongs in the toolbox of a St John’s Ambulance-man) was today confronted by stats that don’t reflect her 26-point lead over Rishi Sunak amongst Tory voters. A survey carried out by Opinium suggests Truss’s much-trumpeted solution to the cost-of-living crisis – tax cuts – has not gone down well with the wider electorate; 34% of those polled believe taxes, as well as spending on public services, should stay exactly where they are, and a further 26% want them raised. The survey appeared in the Observer, so Conservative Party members – in whose hands the decision rests, like so many clandestine cardinals picking a new Pope – were not included. Nevertheless, the chosen 160,000 seem to be favouring the Foreign Secretary over the former Chancellor.

Some wag on Twitter cleverly redubbed Rishi’s Tunbridge Wells boast about redirecting ‘levelling up’ funds from deprived urban areas to wealthy Tory shires with a soundtrack of Alan Partridge during his disastrous stint hosting an open-air country show. It was an apt manipulation of a mistimed moment. Yes, Sunak was preaching to the converted and telling them precisely what they wanted to hear, but he surely must have known someone in that crowd would be recording his speech on their phone and was highly unlikely to keep it to themselves. Whilst not necessarily in the same league as Gordon Brown’s infamous ‘bigoted woman’ comment, it was still something of a cock-up characteristic of a campaign that has oozed surface and has been short on substance. One could argue Rishi’s prime concern at the moment is to capture the faithful on whose votes he is ultimately dependent for the keys to No.10 – hence such crowd-pleasing claims – yet he should be aware as much as his rival that a General Election in a couple of years means he has to reach beyond them too.

However, even those who don’t have a say in this contest – i.e. around 97% of the electorate – haven’t been convinced by Sunak’s slick spiel; Truss is well ahead of Rishi as preferred PM amongst all voters; and, as was pointed out at the beginning of this post, Truss’s lead over Rishi is even more impressive amongst those who voted Conservative at the last General Election. Perhaps equally encouraging for Truss is the fact that the same poll puts her ahead of Keir Starmer as a potential Prime Minister, albeit only by one point – though Sunak is four points behind the Labour leader; maybe the fact Truss is regarded by those polled as being more in touch with ordinary folk is merely because the ex-Chancellor makes David Cameron look like Dennis Skinner. And it’s also worth noting that a larger proportion of the lucky 2000 punters asked for their opinions went for the ‘none of the above’ option, which seems to say more about the contenders and the opposition when it comes to this uninspiring spectacle than any of the other stats such a survey can throw up.

Needless to say, anything remotely approaching a ‘honeymoon period’ that Liz Truss is anticipating probably won’t last very long; she’ll take the reins of power in September and within a month she’ll be expected to do something about the much-publicised, astronomical soar in energy prices that is – according to the MSM – poised to plunge most of us who aren’t Tory Party members into fuel poverty. Oh, and the Bank of England is adding to the beloved Doomsday narrative by forecasting the mother of all recessions. When it comes to the issue of energy prices, the futile pursuit of ‘Net Zero’ is noticeably absent from so many column inches as one of the reasons why energy bills will rise for those least able to pay them. The war in Ukraine is a far more convenient reason – and one guaranteed to receive the thumbs-up; after all, it’s bloody horrible and everyone hates Vlad, so it’s a preferable excuse than one shining a light on the way in which Western Governments have capitulated to the most fanatical zealots of the Green lobby at the expense of plebs already struggling to make ends meet.

As for the other treat we’ve got to look forward to in the autumn – i.e. the impending recession – well, it’s not as if nobody saw this coming, is it? If you completely close down industry for months and give no clear indication as to when all those mothballed businesses can reopen, it’s pretty obvious what’s going to happen. The tax cuts Liz Truss favours over what she calls ‘handouts’ to help people cope is a clear nod to Rishi’s magic money tree during the furlough episode of lockdown, effective benefits for the employed which anyone with half-a-brain knew were glorified loans from the Government usurer that would eventually have to be paid back. Actual benefits in the shape of Universal Credit were unsurprisingly the first to feel the pinch, losing the £20-a-week uplift, and since then benefits haven’t kept up with inflation either. Lib Dem leader Ed Davey is keen on Parliament to be recalled from its summer hols to look as if something is being done – as is former PM Gordon Brown, who instigated a report into the cost-of-living crisis that has just been published.

Brown calls on the two leadership contenders as well as Boris to get their fingers out by delivering a special budget ASAP, and has aired his thoughts on the emergency, which are fittingly bleak for a man not renowned for being the life and soul of the party. But, let’s face it – we’re all now becoming as accustomed to emergencies as Brits back in the 1970s were, so the findings of this report make for the expected gloomy reading. Even before energy regulator Ofgem announces details of the rising price cap on fuel, the report claims many families and individuals in Britain appear to exist solely to pay bills at the moment; and having been in that position in the past, I know how demoralising it is. A grassroots movement encouraging those most terrified of what’s to come to essentially go on strike and refuse to pay their bills is a nice, collectivist concept in the tradition of what happened when the Poll Tax was introduced in 1990, but – like the fruits of Sunak’s magic money tree – it’ll still all have to be paid back in the end, anyway, so it’d only just be kicking the can further into the long grass, alas.

‘We are facing a humanitarian crisis that Britain hasn’t seen in decades,’ says Gordon Brown. ‘As living costs continue to skyrocket, families on the brink of making ends meet cannot bridge the gap. (The next Prime Minister) must ensure that families have enough to live, through this crisis and beyond.’ The author of the report, Professor Donald Hirsch, says even those receiving financial assistance from the Government stand to see their standard of living decline rapidly; Prof. Hirsch’s report states an unemployed couple with two kids will be as much as £1,300 worse off a year. Gordon Brown urges action immediately, and if that fails to happen soon, that failure will be responsible for ‘condemning millions of vulnerable and blameless children and pensioners to a winter of dire poverty’.

I guess many MPs will currently be sunning themselves on some beach that the majority of their constituents will never sun themselves on, and the recent publication of the latest expenses claims by Honourable Members suggests their world remains a parallel universe of privilege to ours. And, smack bang in the middle of this uneasy calm before a dreaded storm, we’re lumbered with a lame duck Prime Minister counting down the days till his eviction and a couple of potential replacements travelling up and down the country, selling themselves to people who are amongst the least threatened by what awaits the rest of us. Doesn’t fill you with much confidence, does it.

© The Editor

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