JaredI guess one overlooked consequence of 13 years of Tory misrule is that being exposed to such a rich barrel of rotten apples means all corruption in public office is inevitably painted blue. How easy it is to forget the Labour MPs that have fallen foul of the law, not least those who were named and shamed (and, in one or two cases, imprisoned) following the expenses’ scandal. So, considering the supposedly ‘nobler’ alternative to the Tories could well end up in government a year or two from now, it’s rather timely to be reminded that some of their own are just as capable of crookedness as those on the other side of the House. Take Jared O’Mara – you remember him, of course; he’s the one-time ginger geezer who caused one of the biggest upsets of the 2017 General Election by ousting Nick Clegg. Well, yesterday he was found guilty of fraud and sentenced to four years in the clink. Convicted on six counts that the judge described as ‘cynical, deliberate and dishonest’, the former MP for Sheffield Hallam had stooped to play the mental health card as a defence for his actions, but it didn’t wash. Said Judge Tom Bayliss in his summing-up: ‘I have concluded that, although Jared O’Mara was without doubt suffering from autism at the time of the offences, that does not reduce culpability.’

Even before the cocaine habit that he bent the rules to fund became public knowledge, Jared O’Mara’s political career had ground to a premature halt in a matter of months following the surfacing of archaic tweets of a sexist nature along with allegations of sexual harassment. After a period of suspension, he stepped down at the 2019 General Election. Whereas his predecessor in the constituency was rejected due to the sacrifice of pre-Election Lib Dem promises on the altar of coalition, it rapidly emerged his successor was one of those Honourable Members who has little time for his constituents, his attitude towards them being described as one of ‘vile, inexcusable contempt’ by a former aide. In O’Mara’s case, revelations at his trial suggested it was no wonder he didn’t bother, considering he devoted most days to a steady ‘rock ‘n’ roll’ diet of five grams of cocaine and a bottle of vodka. The ex-nightclub manager evidently didn’t alter his lifestyle to fit his new responsibilities and carried on regardless. But it was the deception he employed to screw cash from the public purse that elevated his actions above mere hedonistic hubris.

O’Mara’s defence lawyer attributed his client’s behaviour to being ill-equipped when it came to ‘the stresses and strains of public life’, which is a fair enough explanation for an individual to turn to a chemical crutch; but O’Mara didn’t simply sink into substance abuse, something which many might have expressed sympathy towards had he received treatment and then emerged rehabilitated. For someone allegedly suffering from autism on top of an expensive drug habit, O’Mara displayed a clear and calculated business head when attempting to claim taxpayers’ money in the region of £24,000 for a nonexistent charity called Confident About Autism South Yorkshire; this fake organisation was a front for a friend of his he’d falsely named as his constituency support officer, though said friend appeared to have had his name taken in vain, as the jury cleared him of any part in the fraud. Another acquaintance on behalf of whom O’Mara had attempted to extract cash totalling £4,650 from Ipsa in relation to PR work that was never actually undertaken was less fortunate, found guilty of three counts of fraud and receiving a 15-month suspended sentence.

Understandably desperate to blame his actions on his ‘condition’, Jared O’Mara’s barrister Mark Kelly KC said, ‘When he felt he was being hounded by the media…he felt under pressure for certain circumstances that had come to light; he resorted to taking drugs and alcohol, distancing himself in many respects from those around him. These circumstances were very difficult circumstances for him to cope with, with his particular disabilities.’ This approach, however, failed to convince either judge or jury; the mental health card was not an adequate excuse, something Tom Bayliss KC emphasised in his conclusions. ‘You, Jared O’Mara,’ said the judge, ‘are a highly intelligent man. You were, I am quite sure, able to exercise appropriate judgement, to make rational choices, and to understand the nature and consequences of your actions. You may have occasionally behaved bizarrely or demonstrated disordered thought, but whether that was caused by your disorder or by your consumption of drugs – or both – is neither here nor there so far as this fraud is concerned. You knew perfectly well what you were doing with this fraud, you were behaving rationally, if dishonestly, and you were using your autism diagnosis to extract money from Ipsa to fund your cocaine and alcohol-driven lifestyle. It was deliberate, it was cynical and it was dishonest.’

The judge’s summing-up seems a fairly succinct summary of Jared O’Mara’s character and yet another sober warning when it comes to endemic Labour Party policy of selecting a candidate not on the grounds of merit but on box-ticking. In O’Mara’s case, his playing of the mental health card satisfied the criteria of the Momentum-dominated National Executive Committee, who went over the heads of the local constituency party to select him for the seat; his surprise success in winning it eased concerns, but his unsuitability was quickly exposed. One suspects a party so immersed in the ideology of Identity Politics probably won’t learn from its mistake.

BURT BACHARACH (1928-2023)

BurtThe emergence of the self-contained pop music artist in the early 60s undeniably dealt a body blow to the dominance of Tin Pan Alley; but the best of the professional songwriters were a resilient bunch and found there were still outlets for their talents. Not all of the bands at the forefront of the Beat boom and British Invasion contained in-house hit machines, and there were also what used to be called ‘girl singers’ in abundance – young, spunky sirens for whom the elegant standards of the 50s were old hat; the likes of Dusty Springfield, Lulu, Cilla Black, Sandie Shaw, Petula Clark and others were in need of their own standards, ones that reflected the changing mood of the 60s; and few songwriters delivered what was required better than Burt Bacharach, whose death at the grand old age of 94 was announced yesterday.

It would be easy to pay tribute to Bacharach by simply listing the staggering roll-call of hits that flowed from his genius melodic mind; although the 60s saw the end of the era in which standards were shared between all the great song stylists so that no performer could claim theirs was the definitive interpretation, Burt Bacharach’s songs – the most well-known being collaborations with lyricist Hal David – would still find themselves in the set-lists of most solo singers, whether or not they’d had the hit version. And sometimes the original recording would inspire a cover that would then be regarded as the definitive article; this occurred when The Carpenters had their breakthrough with ‘Close to You’, which was first recorded by the woman who served as Bacharach’s muse for several years, Dionne Warwick. Bacharach managed to achieve an almost symbiotic relationship with the women he wrote for; prior to his partnership with Warwick, his day-job had been arranger and bandleader for Marlene Dietrich when the Teutonic chanteuse was still touring the world’s concert halls; it was a steady income for Bacharach, but he knew he needed to devote his full-time to what he was best at – penning instant classics.

Bacharach was pivotal to what became known as ‘easy listening’ as the 60s progressed, which was basically the old pre-rock ‘n’ roll grownup pop coolly restyled for the new decade; his songs often seem tailor-made for a very 60s ‘Lounge-core’ vision of suave 30-something men in bachelor pads, handing a Martini to a languid lady in false eyelashes as a prelude to laying her clean as a whistle. His winning streak may have waned by the 70s, but his phenomenal output prior to that left behind a breathtaking legacy that will remain the gold standard of pop songs while ever there are people still around to listen to them.

© The Editor





Sooty 3Some characters that emanated from the pages of children’s literature during the medium’s century-long reign as the prime launch-pad for the imagination appear to be in possession of a remarkable durability that enables them to charm successive generations of young readers. The anthropomorphic animals from ‘The Wind in the Willows’, the cast of surreal eccentrics from ‘Alice in Wonderland’, Winnie the Pooh and his engaging sidekicks, Peter Pan and his nocturnal Neverland – all continue to sprinkle the same stardust onto the children of today as they sprinkled onto their parents, grandparents and so on. Most of these success stories have, of course, had their lives extended by being reimagined in other mediums that arrived later – primarily cinema and television; and the latter not only adapted these established franchises for a fresh audience, but eventually created franchises of its own. Some had impressive longevity, whereas others remain known only to those who watched with mother at the time. There are, however, a select few who have continued to wave their magic wands throughout the decades – and once even extended their omnipotence to the breakfast table.

Not only are the plastic mouldings posing as free gifts that once tumbled out of breakfast cereal boxes now frowned upon as planet polluters and health-and-safety hazards, but the cereals themselves are today viewed with puritanical suspicion, guilty of infecting impressionable infants with a nascent sugar addiction; banished from prime-time kids’ advertising slots and – in some cases (such as the late, lamented Ricicles) – expunged from supermarket shelves altogether, these one-time starts to the day have had a hard time of it over the past po-faced decade. How removed from an era when each brand was so key to the childhood experience that their boxes featured familiar faces on the front, whether Florence and Dougal from ‘The Magic Roundabout’, Mr Spock from ‘Star Trek’ or Jon Pertwee’s incarnation of Doctor Who. And, lest we forget, Mr Kellogg also signed-up a famed double act, one so huge that they were both granted a turn as individual cover stars of their own cereals – Sooty on ‘Puffa Puffa Rice’ and Sweep on ‘Coco Krispies’. Yes, that’s how big these two characters were: they were allocated separate cereals.

Sooty this year celebrates his 75th anniversary – not bad for a cheap glove puppet picked up in a Blackpool toy shop by Bradford-born music hall magician and puppeteer Harry Corbett in 1948; trading on a deep-rooted British tradition stretching back to Punch and Judy, Corbett developed an act with the bear he initially christened Teddy and won a slot on an early BBC TV variety show. So popular did the act with Teddy prove to be, Corbett was offered his own programme shortly thereafter, but in order to stand out on monochrome screens, Corbett blackened the bear’s ears and nose, something that led to a change of name to Sooty. The silent glove puppet, who would ‘whisper’ words in the ear of his human assistant between magic tricks and the occasional squirt of a water pistol, soon acquired a sidekick, a dog called Sweep. Sweep was the clown to Sooty’s straight man, immediately recognisable by his high-pitched squeak, and the two became inseparably linked as a double act.

Sooty and Sweep’s popularity in the 1950s and 60s was so great that even an up-and-coming thespian who shared the same name as Sooty’s ‘dad’ had to insert a ‘H’ in the middle of his name to avoid confusion; this popularity was also mirrored in pioneering merchandise such as Sooty’s miniature xylophone-cum-glockenspiel, as well as a yearly Sooty annual published for the best part of 40 years from 1957 onwards, and regular comic strips featuring in weeklies targeting a pre-school readership. The TV shows largely specialised in slapstick sketches in the music hall tradition and gradually introduced other characters to the Sooty family such as female panda Soo (originally voiced by Corbett’s wife Marjorie in a distinctively husky Fenella Fielding-like fashion) and bulldog geezer, Butch. Sooty was part of the childhood wallpaper to anyone raised in the 50s, 60s, 70s and 80s, and the seamless switch from the BBC to ITV that took place in the late 60s had no detrimental impact on the puppet’s popularity whatsoever. So engrained were Sooty and Sweep in British pop culture by the 70s that the pair were central to the puppet government storyline in a memorable episode of ‘The Goodies’, whereby Sooty as Prime Minister and Sweep as Home Secretary were interviewed by Michael Barratt on ‘Nationwide’.

The first significant change to the act took place in the late 70s, when Harry Corbett was reluctantly forced to retire due to ill-health, but he kept Sooty in the family by handing over the reins to his son Matthew, already a familiar face to children due to his appearances on ‘Rainbow’. Matthew Corbett kept his hand in, as it were, for the next 20 years. Sooty even survived Corbett’s retirement in 1998, whereupon he was inherited by Richard Cadell, who maintained Sooty’s presence on TV screens until the outsourcing nature of British television in the 21st century eventually put paid to a show that had essentially run for the best part of half-a-century by 2004. Since then, Sooty and friends have resurfaced on other channels and the most simplistic of children’s characters has remained a fixture in the nation’s collective consciousness to this day. So, happy birthday, Sooty – and why not? From assisted suicide to Sooty in one fell post.

DAVID CROSBY (1941-2023)

CrosbyUpon hearing of the death of David Crosby – coming so hot on the heels of Jeff Beck passing away last week – I remarked to a friend that the 60s generation had become their own Dorian Gray portraits, ageing and decaying before our eyes whilst their over-achieving 20-something selves continued to be their definitive public image, frozen forever in the high summer of youth. Crosby’s CV was a case in point, making his most fruitful recordings as a member of two key American bands of the era, The Byrds and then Crosby, Stills and Nash (with or without Young); but he always had a reputation as being something of an awkward sod. Indeed, Doris Day’s record producer son Terry Melcher worked with The Byrds during Crosby’s tenure in the band as well as Charles Manson when the latter had a failed shot at being a pop star himself; Manson developed a dangerous grudge against Melcher comparable to Adolf’s beef with Jewish art critics, but Melcher nonetheless once stated that given the choice of re-entering the studio with either Crosby or Manson, he’d opt for the future murderous guru.

Crosby’s propensity for falling out with his nearest and dearest was apparently so incurable that even the CSNY peacemaker Graham Nash eventually had his patience tested for the last time and publicly declared the final severance of his long association with Crosby four or five years back. Nash had performed a role in CSNY that is a familiar one where most big bands containing several big egos are concerned; just as Eric Clapton separated Jack Bruce and Ginger Baker in Cream or Maurice Gibb stood between Barry and Robin in The Bee Gees, Graham Nash had to routinely step in and pour oil on the troubled waters gushing from Stephen Stills and Neil Young; and he also had to deal with David Crosby, regularly provoking all three of his bandmates. Nash had managed to paper over these differences with considerable diplomatic aplomb, but he finally grew as weary of Crosby as the other two in the end. Yet, this is the same man who could emit such soothing, seductive vocal warmth in deliciously delicate songs like ‘Guinnevere’, ‘Long Time Gone’, and ‘Déjà Vu’.

Graham Nash often recalled how struck he’d been by the harmonious magic that arose when he combined his voice with those of Crosby and Stills for the first time, and perhaps all three recognised that putting their egos to one side for the sake of their art might be a profitable route to take. Even so, they only managed it for so long before personalities asserted themselves and clashes inevitably interrupted the creative flow. Perhaps, in the case of David Crosby, it really is best to separate art from artist and to simply immerse one’s self in the music.

© The Editor





3 - CopyThey may have been produced as ten-minute fillers to be screened between the support film and the main feature back when a night at the flicks wasn’t restricted to a solitary movie preceded by a hundred annoying ads, but the likes of Rank’s ‘Look at Life’ series now serve as a portal to a lost world arguably more fascinating than the films they propped-up. Running from 1959 to 1969, the ‘Look at Life’ shorts were shot on top notch 35mm film in crystal-clear Eastmancolor and show a Britain we’re more accustomed to seeing through a murky monochrome lens; as a result, they make the era come alive and are a unique archive of everyday life in the UK at the time. Like the rival series, ‘Pathé Pictorial’, there’s a hangover from the old cinema newsreels in that each short is accompanied by an RP voice-over and a jaunty, jolly soundtrack in the Light Programme fashion; but this merely adds to the period charm. By the late 60s, audiences becoming used to the grittier documentary techniques of television no doubt found them rather antiquated in style, though the visual record they left behind is increasingly invaluable.

From the dawn of talking pictures to the beginning of the 1970s (when the small screen had more or less completely taken over the format), documentary shorts of this ilk were a staple diet of cinema-going, though many of the ‘instructional’ variety eventually found an unlikely home on TV as ‘Trade Test Colour Films’ during the early years of colour television, when they were broadcast on BBC2 in the barren daytime hours. Unsurprisingly, as an established cinematic sub-genre, the documentary short wasn’t entirely in the hands of Rank and Pathé; several other studios specialised in producing them. British Transport Films was another company that provided endless behind-the-scenes profiles of industries and trades a well as focusing on the day-to-day experiences of Brits. One such British Transport short is 1962’s ‘All That Mighty Heart’, the title lifted from the celebrated poem by Wordsworth, ‘Composed upon Westminster Bridge’. This 1802 ode to London at the crack of dawn is recited at the film’s opening as we see the sun slowly rising over the city and follow the morning rituals of those whose professions necessitate an early start.

The London the film portrays is one that wouldn’t be out of place in a Ladybird book; indeed, the colourful clarity of the capital on a summer’s day uncannily echoes the vivid illustrations to be found in such pages. Bright red Routemaster buses are in abundance, as are the Times crossword-studying gents commuting on the Tube and proper Bobbies in the Sgt Dixon mould; even the fact that the first act of the geezer whose alarm clock signifies his day begins at 6:45am is to reach for a fag and cough his guts up is as much a distant sign of the times as his missus collecting the milk bottles from the doorstep. I myself recently re-cut many of the film’s scenes for a video of my own, accompanying its day-in-the-life narrative with theme tunes and snippets from mainstays of BBC Radio that had been the aural wallpaper for a generation by this time. The likes of ‘Housewives’ Choice’, ‘Music While You Work’, ‘Listen with Mother’, ‘Mrs Dale’s Diary’. ‘The Archers’ and ‘In Town Tonight’ all feature, along with snatches of the Third Programme and Network Three before the day draws to a close with the forecast for coastal waters. I guess nobody who appeared in the film could ever have imagined a day without such signposts, yet even though a small handful of those mainstays cling on into the present day, most are museum pieces in the 21st century, distancing now even further from then.

But we don’t simply visit the usual tourist haunts and famous streets in ‘All That Mighty Heart’; we also observe sporting venues like Lord’s and Wimbledon as well as London Zoo. We also see the suburbs as a pretty young housewife’s progress from her newly-built estate to a newly-built shopping precinct is tracked. She waves off handsome hubby to work from the doorstep as the two of them resemble one of those impossibly-innocent kissing couples on the sleeve of a Sinatra Capitol LP. Then she’s shown beginning the washing before dolling herself up to catch the bus and excitedly anticipating the consumerist ceremony sneeringly described by The Rolling Stones in ‘Mother’s Little Helper’ – ‘So she buys her instant cake/and she burns her frozen steak’ – doing so in the sparkling supermarket that constitutes a vital element of the Modernist master-plan of the suburban shopping precinct, one which looks like it was seamlessly transplanted directly from the corporation architect’s drawing-board.

The sight will be familiar to anyone who can recall ‘Mary, Mungo and Midge’, the turn-of-the-70s pre-school children’s show that depicted life from a child’s perspective in one of the high-rises of that brave new world; everything is so spotlessly immaculate, from the materials that comprise the houses to the manicured lawns and verges surrounding them. There isn’t a sprinkling of litter or ugly graffiti to be seen. This optimistic portrayal of the ‘homes for heroes’ ideal that characterised the first quarter-century of redevelopment after WWII is never better illustrated than in a film from the dawn of the 60s, a time before corrupt councillors were bribed by bent builders to cut corners and erect their shoddy Brutalist tributes to Le Corbusier prior to their multiple faults being exposed to unfortunate tenants via rising damp and mould, or them simply collapsing of their own accord. Within less than two decades, most were bulldozed from the landscape and the great post-war dream of a Utopian Jerusalem in concrete was erased from the history books as an embarrassing episode we don’t talk about in front of the children. How unimaginable all that is in ‘All That Mighty Heart’ – a long way from the few surviving estates degenerating into the crumbling sinks we avoid today.

It goes without saying that it’s an idealised version of Britain, one that consciously overlooks the grinding poverty and social injustices that many members of the country’s population were experiencing at the time it was produced; but it’s not a film intended to highlight such issues, merely to present the aspirational lifestyle that the incoming age of social mobility was to make within the reach of thousands before the window sealed-up again at the end of the 20th century. In its own way, it apes the similarly idealised images of the American Dream that characterised Eisenhower’s USA of the 50s; those images also obscured numerous uncomfortable truths, but proved enduring as a selling point to outsiders looking-in, and as many of the British cinematic shorts of the 60s were exported to the colonies, it was important to uphold a positive image of the mother country.

In my own edit, I inserted clips from a contemporary public information film that encourages a nascent Neighbourhood Watch approach, as a shifty character in a shabby suit is spotted on one of those shiny new estates whilst he tries a few doors of houses with hubby at work and his wife at the shopping precinct. A vigilant housewife dials 999 and a chain of events is set in motion that concludes with the opportunistic thief being apprehended by a police patrol car before he’s even exited the estate. This in itself is as much an image of a vanished Britain as anything in the original film and offers curious comfort that if crime should be noted and reported it will actually be dealt with. Besides, is the vision of Britain as seen in the likes of ‘All That Mighty Heart’ any less idealised than the vision of Britain as espoused by someone like Sadiq Khan, which likes to portray the nation as a kind of permanent multicultural Pride parade? Both visions contain grains of truth, but neither can be said to accurately reflect the attitude of the country as a whole; therefore, we can look back at ‘Look at Life’, ‘Pathé Pictorial’ or ‘All That Mighty Heart’ and genuinely mourn what we’ve lost, because we have lost something, even if it was merely an ideal.

© The Editor





7Turning on, tuning in and dropping out may have been the mantra of American Psychedelic salesman-cum-guru Timothy Leary, but who wouldn’t want to turn on, tune in and drop out of 2022? Which will live a longer life – Liz Truss as PM or a lettuce? Pink-haired, privately-educated Titanias and Ptolemys defacing beauty because they have none in their souls – f*** the lot of ‘em; I’d rather take a welcome diversion from the here and now by reflecting my recent listening habits. No idea why, but I’ve been drawn towards Psychedelia of late, albeit the British brand. And it was the Brits for me who really stamped their personality on this endearing episode in the pop narrative of the 1960s. Gary Brooker, singer and keyboardist with Procol Harum, once offered a feasible explanation as to why so many UK bands whose roots were deep in Americana abruptly dropped their tribute act routines; after two or three years of selling coals to Newcastle during the ‘British Invasion’ of the Billboard Hot 100, the same cultural exchange that enabled our artists to touch down on US soil bore fruit on this side of the Atlantic when numerous American acts of the Blues/R&B persuasion played over here and made the white boys realise there was no point with the real deal in town.

Many took a leaf out of Ray Davies’s book, who, following the four-year ban of The Kinks from any further Stateside tours by the American Federation of Musicians, turned away from US influences and looked inwards – or backwards, back to the recurring theme of a long-lost Albion that has regularly resurfaced throughout English literature, art and music for the best part of 200 years or more. The pop musical strain of this was evident as early as 1965 – in The Beatles’ ‘In My Life’ and The Rolling Stones’ ‘Play with Fire’, two songs that oozed a sonic sensibility more reminiscent of the English Baroque than the black American sounds that had provided the launch-pad for both bands. The Yardbirds were another British band whose basic R&B live set was junked for their far more adventurous 45s, and the sitar-like tunings of the guitars on The Kinks’ single ‘See My Friends’ swiftly infiltrated the playing style of Yardbirds axe-man Jeff Beck before George Harrison and Brian Jones sourced the actual instrument and embellished their respective bands with Eastern exotica.

The innovation of stream-of-consciousness lyricism via Bob Dylan into the expanding palette of pop echoed the nonsense poetry of John Lennon, with the latter realising he could write songs employing the same wordplay he’d published as poetry rather than relying on the boy-meets-girl formula that had been a winner so far. The dependable fuel that had propelled the Beat Boom bands from subterranean clubs to the nation’s theatres was also proving inadequate for the grinding package tour circuit of the era; The Beatles had become accustomed to alternative stimulants during their Hamburg apprenticeship, and when Dylan introduced them to ‘pot’, alcohol ceased to be the go-to drug of choice before and after a gig. Marijuana permeated the pop scene from the mid-60s onwards as it had Jazz 20-odd years before, and its laidback effects were discernible in The Beatles’ ‘Rubber Soul’ album at the end of ’65. By the following year, pot had given the leading British acts an appetite for other illicit substances; and once LSD wormed its way into the recreational hours of bands seeking a break from showbiz demands, the hallucinogenic properties of the latest speakeasy fad inevitably infected the creative process.

The inaugural outing for the influence of Acid came with several tracks on The Beatles’ 1966 LP ‘Revolver’, when the groundbreaking manipulation of electronic trickery previously only used by the likes of Musique concrète pioneers or the BBC Radiophonic Workshop found its way into mainstream pop for the first time. Over in the US, Brian Wilson of The Beach Boys was proving himself to be on the same wavelength as his British counterparts, but his increasing isolation from his bandmates and eventual breakdown halted the progress he was making. The field was clear for The Beatles to build upon the likes of ‘Rain’ and ‘Tomorrow Never Knows’ by the time 1966 turned to 1967, and they emerged from Abbey Road with facial hair and far-out threads to promote ‘Strawberry Fields Forever’. Coupled with Paul McCartney’s joyous slice of uplifting suburban pop, ‘Penny Lane’, the hazy, Alice in Wonderland-like aural tapestry of Lennon’s ‘Strawberry Fields Forever’ probably played its part in – as Philip Larkin noted – losing The Beatles the undying love of the secretaries who’d frequented lunchtime gigs at The Cavern; but it served to elevate pop music to the level of Art that only Jazz and Classical had previously been afforded. It laid the ground for the unprecedented cultural impact of ‘Sgt Pepper’s Lonely Hearts Club Band’ and also drew a line in the sand between Pop and Rock that was highlighted by the fact this double A-sided single was kept from the top spot by Engelbert Humperdinck’s ballad, ‘Release Me’.

Engelbert himself encountered the sudden schism in pop when he participated in a memorable package tour in early ’67, sharing a bill with The Walker Brothers, Cat Stevens…and the Jimi Hendrix Experience. The latter had been brought to the Mecca of Swinging London by ex-Animals bassist Chas Chandler and launched upon an unsuspecting UK pop scene with a string of instant hits that helped bring the word ‘Psychedelic’ into the mainstream as an overnight genre that came with its own distinctive weaponry: Fab gear from Carnaby Street (and accompanying coiffure); groups with strange names that sounded like Victorian medicines; backwards guitars and unusual instrumentation; lyrical subject matter rooted in a very Edwardian idea of an Arcadian childhood; and allusions to hallucinatory experiences that both sound and vision attempted to replicate, whether in groovy outfits, Art Nouveau-influenced album sleeves, or the obligatory sitar. New acts sprang up like magic mushrooms and established acts embraced the changes. Suddenly, pop no longer equated with Herman’s Hermits headlining ‘Sunday Night at the Palladium’.

This new scene had its own press (the International Times and Oz), its own club – the UFO on Tottenham Court Road – and a slew of new bands, the most commercially successful being Pink Floyd and Procol Harum. Bandwagon-jumpers were naturally aplenty, but at its best British Psychedelia represented the first real break with America. The US version was less musically experimental and tended to have a harder, radical edge that enabled it to soundtrack opposition to the Vietnam War. Deprived of such a cause, Brits instead took a trip to an imaginary village green and some (such as Syd Barrett) never came back. In a sense, the seeds of Psychedelia’s short lifespan were present in some of its brightest stars. The Bach-like vibes of ‘A Whiter Shade of Pale’ – along with the flamboyant virtuosity of The Nice and the symphonic pomp of The Moody Blues – paved the way for Prog Rock; the turbo-charged Psychedelic Blues of power trio Cream (as well as Hendrix) laid the foundations for Hard Rock; and the surrealistic whimsy of Donovan and the Incredible String Band helped the likes of Fairport Convention, Pentangle and Steeleye Span to give Folk a hippie makeover by the time the 60s drew to a close.

When The Beatles and Stones rounded-off ’67 with the last glorious hurrahs for British Psychedelia with ‘I Am The Walrus’ and ‘Their Satanic Majesties Request’ respectively, the writing was already on the wall. Both the ‘Magical Mystery Tour’ TV movie and the Stones’ unfairly-maligned album were savaged by critics and audiences alike; after The Beatles’ Indian sojourn at the feet of the Maharishi in early ’68, they returned with a stripped-down sound that rejected the elaborate soundscapes of the past two years, and the Stones followed suit. The mainstream pop scene staggered on in its Psychedelic wardrobe for another few months, but by the end of ’68 the portal to Wonderland had been sealed up. Having said that, it’s still hidden in the woods for any curious musical tomb-raiders; and right now, I’m one of them.

© The Editor





Stones CricketAs a quaint, archaic phrase inextricably bound-up with the monochrome optimism of the immediate post-war 1950s, ‘The New Elizabethan Age’ hadn’t stood the test of time until its recent revival (for obvious reasons). However, with the passing of the Queen whose name this imaginary era had rented, do we now acknowledge it was an authentic epoch in itself or do we accept whatever achievements history might like to squeeze under such a convenient umbrella label simply took place on Her Majesty’s watch even when she wasn’t watching? Will the future file this age away so that the past 70 years will retrospectively group together everything from The Beatles to Brexit, Bond to Bowie, Coronation Street to Concorde, Thunderbirds to Thatcherism, Paddington to Punk Rock, and from Tommy Steele to Tim Berners-Lee? Well, it’s probably in the hands of the generations who never lived through it, though many of us who lived through at least half of it recognise whatever creative and cultural renaissance this country coincidentally experienced whilst Brenda occupied the throne drew to a close long before she breathed her last at Balmoral.

As if to confirm this, a video that did the rounds on Twitter this week featured the contemporary ‘star’ Rita Ora labouring under the misapprehension that she’s Aretha Franklin reincarnated as a lap-dancer. The focus of said video was Ora’s attempt to turn Kate Bush’s ‘Running up that Hill’, into a sub-Beyoncé vehicle for the extended – not to say excruciating – practicing of scales. On the video, Ora evidently believes what she’s doing marks her out as an artist of some repute; the sycophantic encouragement of an audience perpetuating her fantasy is as sad as Ora’s embarrassing conviction of her own greatness, though both are victims of low expectations and an inability to question the hype. The Auto-Tuned digital trickery that fools some into believing deluded marionettes with all the soul of The Archies are worthy of bracketing along with the genuine articles who shone so brightly and so far-reaching in the first half of the New Elizabethan Age is never more exposed than in the live arena; but so desensitised are the Spotified public to the charade that convinces them they’re witness to landmark talents rather than average mediocrities, it already feels like it’s too late to extinguish the artistic inferno our Rome has long been engulfed in.

The last monarch to occupy the throne for over half-a-century, Queen Victoria, of course gave her name to her age and was witness to her own revolution as a society transformed by industry – everything from the railways to the telegraph to the telephone and the internal combustion engine – also saw imperial and civic expansion as well as the codification and professionalism of sports that are still with us; and as literacy grew, it was fitting that the written word became the prominent artistic medium. The great novelists of the 19th century stamped their art on their era as much as musicians were to do in the early years of Elizabeth’s reign. But just as few of the novelists who came after Victoria were able to make quite the same immense cultural impact enjoyed by the giants of her era, the musical survivors of the 1960s and 70s remain the biggest draws on a touring circuit which would struggle to break even without the profitable presence of ‘Heritage Rock’. Perhaps future generations will discern the decline of the dominant creative form of the New Elizabethan Age and tie its end in with the death of Elizabeth herself, despite the fact it was wielding a walking stick well in advance of Her Majesty.

Those who find themselves prominent movers and shakers during an age – or at the very least find themselves reporting from the frontline of it – tend not to name their eras; as a term, the New Elizabethan Age seems to have been bandied about a lot up to and around the 1953 Coronation by that day’s media, almost imposed on the populace in the hope it would catch on. But it doesn’t recur much thereafter. When England swung a decade later, you’d be hard pushed to find Carnaby Street referenced as emblematic of the New Elizabethan Age; and I’ve no doubt the groovy guys and gals haunting that particular thoroughfare would have laughed if anyone had tried to pin such an antiquated label on their party. It probably sounded terribly ‘square’ by 1966 – just another dated and discarded piece of slang when the verbal lexicon was moving at a pace those beyond the bubble could never hope to keep up with. But if one were to return to the beginning of the Queen’s reign, perhaps the undeniable boost to weary austerity Britain of having a young woman on the throne instead of an old man tapped into something that was already slowly taking shape, something that would lead all the way from the South Bank to Soho.

Looking back, it’s clear that the confident Modernist architecture which received a nationwide window at the 1951 Festival of Britain anticipated the first flowering of something new. The sky-scraping, Dan Dare-like futurism of the Skylon and the equally Space-Age flourishes of the Royal Festival Hall pointed the way towards related edifices of the early 60s such as the BBC Television Centre and Coventry Cathedral. The consecration of the latter in 1962 was accompanied by the premiere of Benjamin Britten’s ‘War Requiem’, an aptly moving piece aired in the shadow of the bombed-out ruin it replaced. Britten himself was perhaps the key artistic figure of that early Elizabethan Age, being an incredibly prolific and lionised composer nonetheless saddled with the antisocial urges of his sexuality at a time when the Law had yet to embrace the spirit of change. Like Philip Larkin, whose melancholy musings on the type of sexual intercourse that characterised the country after 1963 were laced with regret at missing out, Britten belonged to a generation still coping with the seismic interruption of global conflict to their lives, an experience that would always distance them from the kids searching for shrapnel on bombsites. Those kids were the ones in whose hands the glorious bloom of the New Elizabethan Age rested, and whose efforts would be most richly rewarded.

Britten’s sublime ‘Four Sea Interludes’ – which were originally composed as instrumental passages for his celebrated opera, ‘Peter Grimes’ – were already on my looped playlist before events at Victoria and Albert’s Highland hideaway pushed the New Elizabethan Age back onto the agenda. But as a suddenly poignant soundtrack, they seem to speak to something recent developments have reignited; they are the sound of an ancient island nation instinctively looking out to sea, evoking everything from the place names on the Shipping Forecast to the dying director Derek Jarman pottering about his garden as the toxic silhouette of Dungeness Nuclear Power Station loiters on the windswept horizon. It goes without saying that the history of these islands predates the awareness of those who dictate the popular narrative, so that any ‘age’ doesn’t take place in isolation; it usually has roots stretching back decades, even centuries. Maybe the passing of Her Majesty and the age to which she gave her name has simply brought everything we’ve taken for granted back into focus and provoked a little soul-searching. But we have been here before – just not for a long time.

Whether Vaughan Williams borrowing from Thomas Tallis, Fairport Convention electrifying traditional English Folk songs, or any updated production of Shakespeare you care to mention, little in British popular culture springs from the soil without having been planted there by our forefathers. And if the crown of the kingdom happens to remain on the same head for long enough, chances are history will round up every disparate collection of creative vagabonds and name the years through which they operated after the sovereign observing (and occasionally rewarding) their efforts. In this respect, the New Elizabethan Age was for real – a unique renaissance we’ve all been beneficiaries of.

© The Editor





DaltreyNietzsche may have infamously declared ‘God is dead’ in 1882, but the decades since his incendiary declaration seem to have proven that you can’t keep a good (or bad) God down. Like David Bowie, it would appear He can take many forms; and the kind of worship that was once reserved for stone icons of Christ or the Virgin Mary was gradually transferred to mere mortals as God resurfaced in numerous new guises to suit whatever God the prevailing climate craved. In the second half of the 20th century, God found his most unlikely outlet in the pop cultural figurehead, whose message was transmitted to the young masses via the global communication tools denied the Messiahs of previous epochs. Come the 1960s, young working-class (or lower middle-class) boys who were expected – and were expecting – to follow in their fathers’ footsteps suddenly found themselves in the eye of a fanatical storm that understandably both swelled their own sense of self-importance and left them spiritually empty once undreamed-of riches and material goods were acquired.

In the post-‘Sgt Pepper’ landscape of the late 60s, when Pop had been rebranded as Art, a definite sea-change amongst its leading (and most intelligent) practitioners took place. Yes, the pursuit of female flesh and recreational substance abuse remained high on the list of song subjects, but the revolutionary fervour that gripped the western world from around 1968 onwards reflected a growing awareness by youth of their own potential and powers. Youth turned to their messengers for guidance, and the messengers – who were no more clued-up than their disciples – nevertheless did their best to deliver answers. Rather than advocating an external revolution, however, most turned inwards and sought to make sense of a journey for which there was no roadmap; for some, this was manifested as an embrace of Eastern philosophy. After The Beatles had set the trend by kneeling at the feet of the Maharishi, The Who’s Pete Townshend found his own guru in the shape of Indian mystic Meher Baba; some of what he absorbed then fed into what remains his most popular artistic achievement, the Rock Opera, ‘Tommy’.

Having not seen it for several years, I recently caught Ken Russell’s visual white-knuckle ride that is his 1975 movie of ‘Tommy’ and was instantly aware of how the near-religious following the rock stars of the era attracted was being cleverly addressed on screen. Of course, this was no isolated wakeup call; ‘Privilege’, the 1967 film starring Paul Jones, drew parallels between traditional worship and the new religion of Pop, and faith was reborn as a legitimate vehicle for a hit record with the likes of George Harrison’s ‘My Sweet Lord’, giving it a hippie makeover that rendered it far cooler than Cliff Richard at his most evangelical. For black artists raised in the Gospel chapel, this was nothing new, though – in the case of, say, Marvin Gaye – it often had to be squared with thoughts of a more carnal nature, making for a fascinating listening experience. By the early 70s, it had spilled over onto Broadway, with the cosmetic counter-culture of ‘Hair’ superseded by ‘Godspell’ and ‘Jesus Christ Superstar’, both of which took this premise to the ultimate extreme by portraying Christ himself as the original rock star.

With the so-called ‘Jesus Freaks’ of the period now tainted by the blotted copybook of the Manson Family, the dark side of this new religion not only presented the cults of the Alternative Society in a negative light, but it gave the musical manifestations of what was happening a far sharper edge. Ziggy Stardust was Bowie’s ideal of the ultimate Rock God, comprising all the elements of those who had risen and fallen in the previous decade and cranking them up to eleven; but the fact that the narrator of his 1972 album’s title track admits ‘When the kids had killed the man, I had to break-up the band’ suggests it can only ever end in tears, something that had already been chronicled in ‘Tommy’. When Ken Russell took Townshend’s musical odyssey and placed it on the big screen six years after the release of the LP, the characteristically pessimistic mid-70s setting seemed more relevant to the tragedy of the story than the idealistic 60s, a time when Pete Townshend’s spirit had yet to be blunted by the bottle. There’s a telling sequence in the film where the sick and afflicted are shepherded into a church, praying to an icon of Marilyn Monroe that recreates her famous ‘up-skirt’ pose from ‘The Seven Year Itch’, as though Ken Russell recognised the way in which the mass media had made idols of mortals that, like Christ, were capable of transcending mortality – something mirrored in Tommy’s post-fall ‘resurrection’ at the climax.

Around the time of the movie’s release, the phrase ‘Rock God’ had become common currency to refer to the superstars of the era, though whether Jimmy Page posing with his twin-necked guitar or Robert Plant preening beside him, the conscious attempts of Pete Townshend to somehow deliver a philosophical message to the faithful had been largely abandoned in favour of pure – albeit enjoyably flamboyant – entertainment. Rock had now become a straightforward career choice rather than an accidental spiritual journey. The devotional worship remained, but the search for an answer appeared to have been effectively discarded. When the deliberately primeval Punk Rock gatecrashed the party a year or two later, the more pressing issues confronted by a generation too young to have experienced the seismic shifts of the 60s were favoured over the luxury of pondering ‘Why are we here?’, something that perhaps could only really be asked by a musician once he can sit back and observe the fruits of his labours.

After Punk, the entertainment factor of the most globally successful rock stars became one of their key selling points. Social concerns would periodically surface in the lyrics of less frivolous acts, echoing a recurrent tradition stretching back to Bob Dylan’s ‘Protest’ period; but there were no real further attempts to elevate pop music to Art by seeing it as something on a higher plane than simple self-expression or showbiz. Yes, there was Michael Jackson’s notorious attempt to present himself as the Messiah at the Brit Awards in 1996, though Jarvis Cocker’s impromptu intervention was the perfect antidote to such dubious pretentiousness. And pretentiousness seems to be the usual insult aimed at the period in pop when the likes of ‘Tommy’ were greeted with reverence by broadsheet reviewers. Maybe it simply belonged to a moment impossible to recreate, for that level of intense idolatry had never happened in pop culture before – at least not in quite the same way; okay, so there’d been Valentino and Sinatra and Elvis, but not the self-contained writer, musician and performer bringing their own personal vision to the masses and being put in a position it must have been difficult not to be consumed by.

The Gods of today appear to have been grouped together from a wide range of professions under the umbrella term, ‘celebrity’. They can be actor, athlete, online influencer, model, musician, royalty or reality TV star. The level of attention and scrutiny afforded these usually uninspiring figures can often be quite baffling to those of us who can’t see why any of them – unlike Bob Dylan, John Lennon, Mick Jagger, Pete Townshend, Jimi Hendrix, Jim Morrison or David Bowie – are remotely interesting. But they supply an evident need for someone to worship in the absence of any form of conventional religion that ticks the same emotional boxes. The God that Nietzsche penned the obituary of may have vanished from the day-to-day lives of most, but He is still with us, and still commanding the adoration of millions. He just wears different trousers these days.

© The Editor




Family TVOn the whole, I can think of far preferable sedatives than daytime television; heroin or methadone spring to mind. Daytime TV for me evokes grim images of care home residents slowly succumbing to rigor mortis as they gather dust in sub-tropical temperatures before the small screen, powerless to resist the unremittingly bland diet of soporific sludge that gushes out of every daytime TV pore, leaving the viewer feeling as though they’re being smothered in a sickly-scented cardigan whilst their feet set in a bucket of treacle. Even if one disregards the dreary content, one thing these excuses for entertainment seem to share is the same theme tune – or at least that’s what it sounds like; whilst the themes themselves are as forgettable as the programmes, they all appear to employ those awful ‘synth horns’ that were once the province of Phil Collins hits from the 80s, and each tirelessly upbeat burst of their infantile jollity is akin to being trapped in a lift with a Butlin’s redcoat.

Whilst the paucity of original and gifted minds working today in a once-abundant field of talent such as pop music is regularly discussed, if one widens the net to encompass areas that used to be touched by trends in pop, the dearth of maestros is even more evident – none more so than in another once-abundant field, that of ‘library music’. A deep reservoir of earworms specifically penned for use in commercials or as TV and radio themes, at one time library music – along with specially commissioned themes cut from a similar sonic cloth – provided British viewers and listeners with melodies that simply refuse to go away; many infiltrated our ears as children and they’re still there. Some of the most prolific composers responsible for these persistent portals to happier times are anonymous to all but the most devoted aural archaeologists, even if their body of work stands up as far stronger than anyone ever anticipated when their output was regarded as little more than dispensable Muzak. And, needless to say, it blows the synth horn bots out of the water.

When most vintage rock and soul genres had been plundered and sampled to death by DJs, producers and Hip Hop acts in the 90s, a sudden wave of interest in the untapped riches of archive library music, such as that housed on the books of KPM, led to the so-called ‘Lounge-core’ craze. CD reissues of long-deleted LPs that had spent years in the charity shop bargain bins were suddenly appearing on hip Indie labels, with everything from test card music to novelty noodlings on early synthesizers selling like cult hotcakes. Though the fad passed – as fads do – this ‘ironic’ appreciation of an imaginary soundtrack to an Austin Powers dinner party didn’t erase the nostalgic wave still capable of sweeping over the listener whenever one of the classic library pieces launches a fresh assault on the ears. A warm analogue glow flows through every note and what strikes the listener today is just how well the composers responsible for these tracks managed to take rock elements characteristic of the 60s’ cutting edge and marry them to traditional ‘easy listening’ vibes, producing a uniquely cool hybrid of old and new.

Key musical elements of the Golden Age of library music and theme tunes (the late 60s/early 70s) seem to be fuzzy guitars, the Hammond organ, strings, and lots of horns. Some of the best themes of this era were from the ITC stable of adventure series, as well as the Gerry Anderson shows; whilst John Barry was responsible for some of the former, Barry Gray composed the majority of the latter. A little more well known due to his knack of writing 60s pop hits for Petula Clark and his wife Jackie Trent, Tony Hatch not only worked with the young David Bowie, but his Midas touch gave us memorable themes for ‘Man Alive’, ‘The Champions’, and ‘Sportsnight’ – as well as…er…‘Crossroads’; he also produced a series of future ‘Lounge-core’ classics with his own orchestra. He later became a TV celebrity playing a proto-Simon Cowell alongside the equally sharp-tongued Mickie Most on the panel of the 70s ITV talent show, ‘New Faces’, but it is his musical talents that warrant an inclusion in this particular hall of fame.

Keith Mansfield was a composer who worked extensively in the library world, but also provided the theme tunes for ‘Grandstand’, ‘The Big Match’, and the BBC’s Wimbledon coverage; Johnny Pearson was the leader of both his own Sounds Orchestral band and the Top of the Pops Orchestra (for 15 years), though he composed both library music and numerous memorable TV themes at the same time, including the likes of ‘Captain Pugwash’, ‘Mary, Mungo and Midge’, and even ‘News at Ten’; Cliff Adams may be remembered with a groan by more than one generation of teenagers waiting for the Sunday Top 40 when leading his silky-smooth singers on ‘Sing Something Simple’, yet his contribution to television came via the commercial break, for which he wrote the jingles we still associate with Murray Mints, Fry’s Turkish Delight, and ‘For mash, get Smash’ amongst numerous others.

Another name worthy of mention is Alan Hawkshaw, who was a brief member of The Shadows before branching out into library music. Several of his library tunes ended up as TV themes, including the smoky organ grooves of ‘Dave Allen at Large’ and – in a weird occurrence that highlighted the non-exclusive nature of library tracks – the tune most of us remember as the original ‘Grange Hill’ theme, yet one which was simultaneously used on an ITV schools series called ‘Alive and Kicking’ as well as ‘Give Us A Clue’; also, though Cliff Adams wrote it, it was Hawkshaw and his band who performed the Bond-esque theme that accompanied the well-remembered ads ending with the tagline, ‘And all because the lady loves Milk Tray’.

Many of the tunes associated with this productive era that found their way onto television or radio as themes with a surprising longevity were put together by musicians with a solid track record in the business, often emanating from a jazz world that didn’t pay half as well as the royalties on a theme tune guaranteed to be aired at least once a week. Take the likes of British jazz legend Johnny Dankworth, for example; he was responsible for the toe-tapping Shepherd’s Bush Bebop of the original ‘Tomorrow’s World’ theme and for ‘Beefeaters’, the tune Tony Blackburn opened with every morning on the first Radio 1 breakfast show between 1967-73. Back then, most radio shows had theme tunes, including the shows of each star DJ to jump ship from the pirates to Radio 1 when it debuted. Library music was regularly called upon to provide them, and many of these tunes have stuck in the memory, even if we can’t always pinpoint their source. They’re all tunes we know, though we may not know where we know them from.

The familiarity of library music from this period is due to the way in which it was widely disseminated across television and radio, just as likely to be found as the start-up theme for an ITV franchise-holder, introducing a schools programme, featuring on a test card or opening a regional Sunday soccer show as it would be on a networked institution such as ‘Mastermind’, which has always begun with an aptly-titled piece named ‘Approaching Menace’ by library composer Neil Richardson. The fact these tunes have remained part of our pop cultural wallpaper and have crept into our collective memory bank with stealth is testament to the depth of unsung talent that once worked in an unsung arena. Easy to dismiss, but not so easy to forget, the melodies these men made are just one more example of how even the most seemingly throwaway elements of what we used to have far outshine the majority of what we have now.

© The Editor




BeatlesMomentary escapism from a world that seems to relish serving up a fresh dish of despair and despondency to its population every passing year seems an essential panacea right now. It can be manifested in many different ways, specifically tailored to suit the unique tastes of each individual, and its position on the scale of trivia is immaterial. Whatever simple pleasure makes you happy is worth indulging in at times like these. During Lockdown Mk I and beyond, I found walking a friend’s dog once a week was the best breath of fresh air and the most unpretentious reward for a week entombed indoors on offer; and even with the present-tense pandemic receding (albeit not its long-term legacy), the latest crisis has necessitated the need for time-out, whether that be a few hours away from social media – or penning a post. Dog-sitting the same pooch that provided light relief when outdoor excursions were being rationed has become an occasional outlet of late, but the home I dog-sit in also contains another window into a world a million miles from 2022 – well, 53 years, to be precise.

When Peter Jackson’s ‘Get Back’ project was premiered on the Disney + digital channel at the back end of last year, it was accompanied by a deluge of YouTube reviews from people who had hurriedly subscribed to a streaming service usually patronised by parents to little ‘uns obsessed with ‘Frozen’ and the like. Suddenly, it had become attractive to an entirely different demographic, one fired by the media previews of the cleaned-up, Hi-Definition incarnation of footage that had been slogging around the bootleg circuit in appalling picture quality for decades. Not prepared to temporarily add another channel to the dozens I never watch, I was waiting for an eventual DVD release to finally view a series spread into three tantalising movie-length episodes; but dog-sitting in a house containing Disney + has given me an opportunity to catch up with something most Beatles fans rushed to watch together a few months back. And it was worth the wait as, for once, the hype is justified.

For the few still wallowing in ignorance, ‘Get Back’ was the original title of what eventually became the Beatles’ uneven swansong, ‘Let it Be’. At the beginning of 1969, less than two months after releasing the White Album, the band sought to capitalise on the recent energising experience of recording the ‘Hey Jude’ promo, with its novel audience participation; eager to keep the creative juices flowing, Paul McCartney felt this might be a way for the band to return to live performance. Director Michael Lindsay-Hogg had just filmed ‘The Rolling Stones’ Rock ‘n’ Roll Circus’, showing there were new means of playing live for acts that had been scarred by screaming girls on the touring treadmill. Conceived as a TV documentary of the band rehearsing new numbers that would climax with a live show before an invited audience, the ambitious ‘Get Back’ didn’t work out as planned and was swiftly reduced to a posthumous album and movie, released a year after its making and at a moment when the former Fab Four were not exactly on speaking terms. It wasn’t the most impressive of obituaries, and the cynical way the film was edited by Lindsay-Hogg established a narrative that had remained intact for half-a-century.

True, there was an infamous ‘argument’ between Paul McCartney and George Harrison captured on camera; true, George walked out on the band for a few days thereafter; true, the chilly environs of Twickenham film studios early in the morning were not especially conducive to harmonious vibes; true, McCartney came across as an overbearing martinet; true, the constant presence of Yoko Ono at John Lennon’s side appeared to be an impediment to recreating the spirit of the band that the project was intended to deliver. All of this was portrayed with funereal finality in the original movie and the fact none of the ex-Beatles in the years following its release had a good word to say about it helped perpetuate the narrative seemingly forevermore. Its sole saving grace was the legendary ‘rooftop concert’ on a cold, wet January morning atop the Apple HQ on Savile Row; but opportunities to see it after the movie’s 1970 release were limited to clips in documentaries or bootleg copies of an early 80s home video version of the film, with the piss-poor visuals and sound quality adding to the negative perception of the enterprise.

Plans to restore and re-release ‘Let it Be’ in recent decades have been repeatedly stymied by one ex-Beatle (or ex-Beatle widow) or another, leaving the film as a bit of an absent friend in the Beatles’ story. The unexpected invitation for director-turned-documentary-maker Peter Jackson to wade through hundreds of hours of unused footage from the ‘Let it Be’ sessions was probably inspired by the astonishing job he did on presenting the First World War as a full-colour conflict in ‘They Shall Not Grow Old’. For Beatles fan Jackson, all his Christmases came at once as he took on the challenge of retelling a tale that had never been fully told and making it the kind of visual and musical experience that the 1970 film failed so badly to achieve. The global pandemic delayed the scheduled 50th anniversary release, albeit giving Jackson and his team more breathing space to develop new ways of improving the audio and expanding the running time. The first results of their efforts were trailed online last year and the thumbs-up was universal – it looked and sounded amazing. Gone were the grainy, murky washed-out shades of the tenth-generation VHS versions and in came colour of the Blu-ray variety, HD-sharp with a clarity that put the viewer in the room with the Fab Four – a laughing, convivial Fab Four contradicting the hand-me-down myth of the ‘Let it Be’ project.

The series shows that the shared sense of humour which had been such a vital component of what made those four individuals gel as a unit hadn’t been dealt a mortal blow by Yoko’s presence after all. Far from being savagely sardonic and disinterested, Lennon appears as lively and witty as ever; moreover, McCartney comes across as less of a control freak and more of an artist at the peak of his powers, oozing magic melodies from every pore. There were concerns Jackson’s facelift might present a sanitised rewrite of the story, but moments of tension remain in the final cut, especially the day after George’s exit; when it looks as if Lennon won’t be showing-up either, the horrible realisation dawns on McCartney that everything might be about to collapse. The camera zooms in on his tearful countenance as he almost whispers ‘And then there were two’. It’s a remarkably moving moment.

As well as the tracks that ended up on ‘Let it Be’, the January 1969 sessions also feature numerous songs that constituted a large chunk of ‘Abbey Road’, not to mention a sizeable amount of material that would only see the light of day on the post-split solo albums of 1970 and ’71. When one hears The Beatles work through Lennon’s ‘Gimme Some Truth’ or Harrison’s ‘All Things Must Pass’, it’s immediately evident these great songs would’ve been even greater had the four recorded them together. Far from being the creative cul-de-sac of legend, the ‘Get Back’ sessions find the band in the thick of a stunning purple patch; it also underlines the theory that all their finest material – even what became solo stuff – was written when they were still together. One of the joys of the fly-on-the-wall element of ‘Get Back’ is witnessing the genesis of songs happen before one’s eyes. The title track itself appears out of nowhere as a chugging McCartney riff, morphs into a satirical comment on Enoch Powell’s recent ‘rivers of blood’ speech, and gradually takes shape before our eyes and ears as the song we’re all familiar with. It’s a real privilege to share the journey.

‘Get Back’ is as essential an addition to the Beatles legacy as anything released during the band’s lifetime, and far superior to Apple’s endless repackaging and needless remixing of material already available. What’s incredible to realise when watching is not one of the band is yet 30 as we see them in the dazzling twilight of their time together as cultural ambassadors in whose hands our culture was safe; and when Ringo gazes awe-struck at Paul picking gems out of thin air at the keyboard, his touching comment to his band-mate, ‘I could watch you play the piano all day’, sums up a special chemistry of which we all continue to be grateful beneficiaries. And it’s certainly worth reconnecting with the best mankind can offer at a moment when all we seem to be surrounded by is the worst.

© The Editor




Audrey HepburnTaking a break from all online activity for several days can be a bit of a gamble. Hell, how was I to know the head of the Met would be belatedly pushed before she jumped in my absence, thus leaving this here blog bereft of a swift post-mortem on a useless individual who will henceforth be sailing off into the sunset on a handsome retirement package as well as the inevitable seat in the Lords as Baroness Dick of Head within a year? Mind you, it could’ve been worse; it could’ve been Boris, and I would therefore have been denied an instant obituary to line up alongside those of David Cameron and Theresa May. Whilst the PM is doing his best to keep a low profile following his schoolboy-apologising-to-the-headmaster grilling in the Commons last week, Fleet Street’s ongoing fascination with the woman who currently has ownership of his balls shows no sign of abating, though ‘Carrie Antoinette’ (I can’t claim credit for that one, alas) has a limited shelf-life that simply serves to keep the saga running whilst the Tories decide whether or not any suitable replacements are prepared to trigger a leadership contest.

As is the case during this hysterical, newsworthy-for-24-hours era – whereby one favoured headline has to be pored over relentlessly in sensationalistic, speculative fashion for a day before being hurriedly superseded by the next (lest the viewers’ collective attention span expires) – the mortal remains of Cressida Dick have already been gutted by the MSM to the point whereby any further dissection of them could feel like exhuming Sgt Dixon’s cadaver. At the same time, the tense situation along the Ukrainian border, which was discussed here when it began to boil over a couple of weeks back, is a subject that any rushed analysis of could date within hours; probably best to come back to it when what everyone is expecting to happen actually happens. With this in mind, I’ll momentarily linger on a growing pop cultural trend I noticed has moved on into dubious new areas.

In the face of joyless Puritans permanently on the lookout for something to remove from the history books, some artists have been issuing preemptive strikes. Over the last few months, ‘Brown Sugar’ has been dropped from the Stones’ set-list after half-a-century and Elvis Costello has exercised self-censorship re ‘Oliver’s Army’ before the serial cancellers beat him to it. It’s a sad state of affairs that artists feel they themselves have to act as Ministry of Truth employees for fear that the artless will do it for them without asking, as each apologetic compromise to the unforgiving consensus earns them no stay of execution. After all, there is no concept of redemption in the new religion; once damned, one is damned for eternity. Much better to adopt the stance of Woody Allen’s character in the superb 1976 movie set during the McCarthy era, ‘The Front’; called to appear before the House Un-American Activities Committee, Allen declares he doesn’t recognise the authority of the Committee to interrogate him and abruptly exits by telling them to go f*** themselves.

Oh, for a brave soul to do likewise today. Joe Rogan has blotted his copybook somewhat by issuing what amounts to a half-arsed apology, something that will eventually be seen as an unnecessary olive branch held out to those whose only response will be to set fire to it. As has been rightly pointed out over the past week, sexual misconduct allegations will be the next weapon unleashed from the Woke arsenal if accusations of retrospective racism have proven unsuccessful. It’s a familiar contemporary pattern that is as predictable as night following day now; a minor employee will allege Mr Rogan touched her inappropriately ten years ago before too long and the demonisation will be complete. Therefore, the artist doesn’t need to humiliate himself when confronted by the 21st century’s McCarthy militia, for the militia will proceed regardless – and it has been hard at it for a long time.

Whether the removal of gollywogs from Enid Blyton books, the disappearance of Paul McCartney’s cigarette from the front cover of ‘Abbey Road’ or, of course, the ‘Top of the Pops’ revision that tells us Gary Glitter or Jimmy Savile had no part to play in pop culture beyond allegedly abusing underage girls on an industrial scale, ironing out the rough edges of the past is nothing new. A reference to ‘Negro spirituals’ being sung whilst the prisoners of HM Prison Slade dig a trench in ‘Porridge’ was excised when the haphazard dispersal of soil resulted in Fletcher informing Godber that he had no desire to visually resemble said slave labour. A wisecrack typical of Ronnie Barker’s character was removed without once taking into account the audience’s awareness that the programme was produced in the mid-1970s and therefore contains attitudes common to the era, especially from a character born in the 1930s like Norman Stanley Fletcher. To edit old dialogue so that it chimes with contemporary sensibilities is as ridiculous a move as the box-ticking BBC efforts to re-imagine the Britain of the past as some 21st century Islington dinner party vision of a multicultural nation.

Hollywood has set the pace in this revisionism and, not content with producing unwatchable Critical Race Theory lectures masquerading as entertainment (lectures that the cinema-going public mysteriously don’t queue-up to sit through) it has now re-imagined some of its past Identity Politics-free output that people are still drawn to. Disney’s animated masterpiece ‘Fantasia’ has already suffered from this approach, and over the weekend I caught a TV screening of what was once one of my favourite movies, ‘Breakfast at Tiffany’s’. Around half-an-hour in, I began to realise that one notable aspect of the iconic Audrey Hepburn classic was strangely absent. Having watched the film on numerous occasions, I knew it more or less scene-by-scene and I was naturally expecting the appearance of Mickey Rooney’s toe-curling ‘Jap’ neighbour complaining about the noise from Holly Golightly’s apartment – yet he never appeared.

After a while, it dawned on me an entire character played by a box-office star in his own right had strangely vanished from the story. Now, before I go any further, I have to admit ‘Mr Yunioshi’ has always made me wince and I regarded this particular character as the sole weak link in an otherwise perfect film; a competent actor and household name for decades prior to ‘Breakfast at Tiffany’s’, Mickey Rooney was nevertheless responsible for a portrayal of an oriental idiot in the movie that would put Benny Hill to shame, played purely for laughs complete with comedy goofy teeth – even though it’s not remotely amusing. It’s an unfunny, cringe-inducing performance and would be even if ‘yellow-face’ accusations hadn’t permeated the narrative. I confess I often used to skim through his scenes whenever watching it on a VHS tape back in the day, but did I want Hollywood’s PC police intervening and removing him on my outraged behalf? In a word, no; but it’s happened; the version of the film I saw this time round had no Mr Yunioshi in it. Admittedly, it was a superior watch without him, but that’s not the point.

As with those cheering the toppling of statues of unloved figures from the sidelines, once a trend has been set in motion and has been legitimatised as a means of removing a character from the picture, what happens when those with an unquenchable appetite for destruction then turn their attention to someone the cheerleader for anarchy holds dear – as they will do? Granted, few who love the film will mourn the absence of Mickey Rooney from ‘Breakfast at Tiffany’s’, yet this is a dangerous precedent. Are all derogatory references to the colour of the black sheriff in ‘Blazing Saddles’ to be edited out, robbing the movie of a key element of its storyline in the process? Give it time. The list is relatively endless of old movies primed for this treatment, and having seen it done once I don’t doubt I’ll see it done again. A cultural line has been crossed, and nothing is sacred when you give a green light that lets loose the non-creative on the creative, however unfashionable their creative endeavours may now be.

© The Editor




WarholIt was often said of Oscar Wilde that his greatest work of art was himself; he certainly knew how to project a prefabricated image of The Artist to sell to the public and this was a lesson not lost on many who followed him in the succeeding century. Salvador Dali latched onto this with his elaborate moustache and theatrically eccentric persona, and Andy Warhol picked up the gauntlet when he progressed from the superficial environs of the American advertising industry and turned himself into a brand as convincing as a can of Campbell’s soup or a bottle of Coca-Cola. Warhol wasn’t operating in isolation on the Pop Art scene of the 50s and early 60s, though he managed to overtake the pioneering presence of Roy Lichtenstein by upgrading the tactics of Wilde and Dali for the mass-media age; with his trademark toupee, shades and hooped tops, Warhol was transformed into a living logo of himself, as instantly recognisable a product as any of his celebrated silk-screens, and in the process eventually becoming more well-known than his actual work.

As one of the first artists propelled to household name status by discerning that something which had always been regarded as disposable had a relevance that transcended its crassly commercial purpose, Warhol mass-marketed ‘Pop’ by utilising the tricks he’d learnt when working in advertising. He recognised that the billboard, the comic book, television and Hollywood were America’s most culturally potent contributions to 20th century Low Art and imported them into the High Art environment of the gallery. Early on, he even managed the impressive feat of combining his adoration of celebrity with social commentary; his prints of the electric chair or the violent attempts to prevent desegregation in the Deep South were relevant and important observations on the state of the nation on a par with anything from Bob Dylan’s ‘protest’ songbook of the period.

When invited to fill an empty space at New York’s prestigious World’s Fair of 1964, Warhol mischievously decided to decorate it with mug-shots from the FBI’s ‘most wanted’ list, a gesture that went down so badly with the authorities that he was asked to paint over the mural within days of its appearance. Again, however, this seemingly shit-stirring decision to apply advertising techniques to the flipside of the American Dream was in itself an astute comment that a nation forged in bloody insurrection and forever revelling in the romanticised mythology of both the Wild West and 1920s gangsters had already sold its villains like Brillo Pads; those outraged by his ‘most wanted’ mural were probably eagerly consuming ‘Wagon Train’ on TV and feasting on sensationalistic reports of Mafia massacres in their daily papers – yet couldn’t join the dots; all Warhol was doing was reflecting a cracked mirror back at them.

Warhol pursued his association with the cutting edge by sponsoring avant-garde rock band The Velvet Underground in their formative days and adding his brand name to the amusingly decadent Paul Morrissey movies featuring some of the drugged-up drag queens hanging about the Factory, though not long after David Bowie’s initial encounter with him had inspired the line ‘Andy Warhol, silver screen/can’t tell them apart at all’, Warhol no longer had anything left to prove and settled back into the lifestyle of the wealthy celebrity for the rest of his life.

He’d already withdrawn from the public eye to a degree following the assassination attempt by unhinged radical feminist and Factory hanger-on Valerie Solanas in 1968, though even when he had submitted to the interview circuit he’d played the part of the enigmatic artist by famously answering questions with a characteristic ‘err…yeah’ or ‘err…no’, so his mystique was always intact. By the 1980s, he had become known as someone who would attend the opening of an envelope, so ubiquitous was he on the guest list of every notable social event in New York; and there was often the feeling he had been reduced to a fashion accessory when every wannabe model or pop star sought him out for a photo-op in the hope some of his lingering stardust would rub off on them. Andy Warhol died following gallbladder surgery in 1987, with many claiming his fragile frame had never entirely recovered from the bullets Valerie Solanas had pumped into it almost 20 years before.

Reminded of Warhol’s achievements and his ever-alluring public persona via a new documentary series airing on BBC2 this week, I thought the timing interesting, coming as it has just days after the verdict in the trial of four ‘BLM’ protestors who’d participated in the notorious removal of the statue of Edward Colston in Bristol last summer. This quartet of middle-class…erm…radicals with such ‘street’ names as Sage Willoughby and Milo Ponsford are all, naturally, as white as a slice of Sunblest and received an easy ride because they – and it would seem, the justice system – regard themselves as being on ‘the right side of history’. The verdict would appear to imply that as long as one has the correct opinions it’s perfectly fine to indulge in vandalism; not a massive surprise, really; the contrast between police treatment of anti-lockdown protestors and Extinction Rebellion has already highlighted the politicisation of what constitutes a crime, so the verdict was essentially a foregone conclusion.

The brave Woke warriors also received the sponsorship of fellow ‘radical’, the artist Banksy. The eternally anonymous muralist, long the darling of Guardianistas, contributed to the cause by designing a T-shirt that would help pay for their defence. Once more, the inherent conservatism of so-called subversives in the grotesquely wealthy art world evokes images of Rik the People’s Poet from ‘The Young Ones’; yeah, f*** you, ye fascist Tory! It’s hard to imagine any of the current crop of unimaginative careerist charlatans daring to think outside their Identity Politics box and provoke the kind of outrage their YBA predecessors did back in the 90s; they’re so in tune with privileged, establishment thinking that they’re about as dangerous as yer average episode of ‘Call the Midwife’. Andy Warhol may well have progressed into comfortable middle-age once he’d accumulated enough wealth for the son of poverty-stricken East European immigrants to not have to worry about paying the rent ever again; but at least for perhaps the first decade of his career in the public eye he had his finger on a cultural pulse that is now very much deceased.

SIDNEY POITIER (1927-2022)

PoitierMany years ago, I remember seeing an interview with Denzel Washington whereby he spoke frustratingly of being compared in reviews to a young Sidney Poitier; the actor firstly aired his frustration at Poitier’s name being evoked, as though that was the only yardstick reviewers had to measure his own performance by – as though there’d never been any other notable black thespians in Hollywood. Then Washington’s expression suddenly changed, beamed a smile and said something along the lines of ‘On the other hand…yeah, I’ll take that.’ No wonder. For a long time during America’s most turbulent struggle with the racial question, Sidney Poitier was the prominent coloured face on the silver screen; even if some of the most successful movies Poitier appeared in dealt with racial issues, these were all thought-provoking, intelligent examinations of a subject US cinema preferred to avoid.

1958’s ‘The Defiant Ones’ (where he and Tony Curtis play escaped convicts chained to one another), 1967’s ‘To Sir with Love’ (where he plays a Caribbean teacher at a rough East End school), and that same year’s ‘Guess Who’s Coming to Dinner’ (where his marriage to a white woman tests the strength of her parents’ liberal views) were all critically and commercially successful. Perhaps the role for which Poitier will always be associated was that of black police detective Virgil Tibbs (‘In the Heat of the Night’, also 1967), sent into the Deep South to investigate a murder alongside a racist, redneck cop played by Rod Steiger. Benefitting from the increased broadening of Hollywood’s brushstrokes in the late 60s, ‘In the Heat of the Night’ is one of the first mainstream movies to look this uncomfortable aspect of American life squarely in the eye without shying away, and it remains one of the most brutally honest and less preachy examples of doing so as a consequence. The death of Poitier at the ripe old age of 94 genuinely ends an era, one in which he was a true trailblazer.

© The Editor