Music

‘Doomer jazz’ and the strange afterlife of Taxi Driver

From our UK edition

Bernard Herrmann died 50 years ago this month. He only just lived long enough to complete the suite of instrumental jazz that’s now regarded as not only his finest work across many decades as a movie composer, but one of the greatest celluloid soundtracks of all time. There are very few movies which you can honestly state simply wouldn’t have got out of the traps were it not for the soundtrack. Taxi Driver is one of them. There’s more than enough available film critic geekery about Martin Scorsese and Robert De Niro’s finest hour to plough through already. But the curious afterlife of the Taxi Driver soundtrack was something I had no idea about until a recent Spotify sleuthing session. You’ve heard the main siren call theme of the movie.

Can Karl Loxley make classical music cool?

From our UK edition

I’m backstage with classical crossover singer Karl Loxley and his pianist Tim Abel at Stratford-Upon-Avon’s Rother Street Arts House. The sound and lighting team are setting up in the empty theatre for what will be one of the final shows in Loxley’s ‘Songs of Christmas’ tour. Since 2015, when Loxley sung Puccini’s ‘Nessun Dorma’ on the TV talent show The Voice, he’s been on a mission to make classical music cool. I’m here to see exactly what that involves – and if he’s succeeding.  Loxley is charming, expansive and – at least when I interview him, a couple of hours before showtime – relaxed. Appearing on The Voice, he tells me, was ‘a very nerve-wracking experience. I don’t think I would have the nerve to do it now.

‘Have Yourself a Merry Little Christmas’ is far from merry

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Here is a great festive pub quiz question for you. Which film was the song ‘Have Yourself a Merry Little Christmas’ written for? It’s likely, particularly if you’re below a certain age, that your first reaction will be surprise that it was written for a film in the first place. That’s a reflection not so much of the failure of the film in question – Meet Me in St Louis, which was the second highest-grossing film of 1944 – but of the enduring popularity of the song itself. In 2023, it was the 11th most played holiday song, according to the American Society of Composers, Authors and Publishers. But just as the song has transcended the film, it has become unmoored from its original meaning.

Christmas carols don’t need modernising

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Like Ebenezer Scrooge, we are all visited by the Ghost of Christmas Past. At this time of year, people and events that have gone before feel closer at hand – both the personal and the historical. One of the main ways we experience this is through our tradition of Christmas carols. A recent YouGov survey showed that 14 per cent of Britons usually attend a carol service. Not as high as one would hope, but attendance rates are rising: in 2023, Church of England Christmas services alone saw a 20 per cent leap in attendance. I sense 2025 is already continuing the trend. Yet many churches will be pointlessly squandering the opportunity by continuing a fad which both turns off newcomers and lets down regulars: modernised Christmas carols.

The pleasure of not knowing

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A few years ago the podcaster Lex Fridman published a list of books that he was hoping to read in the year ahead. It included works by George Orwell, Fyodor Dostoyevsky, Hermann Hesse and others. If he had published this in the world of print media he might have got back some encouraging noises. But because he put the list online – worse, on the platform then still known as Twitter – he received mostly mockery. ‘Who hasn’t read Animal Farm?’ was the general tenor of the blowback, as though a man who had been a researcher at MIT was next to being a neanderthal.

Let the Beatles be

From our UK edition

Like most freelance writers, I have a notepad full of jottings which come under the loose category of ‘Ideas I Probably Won’t Get Round To Doing As I Doubt Anyone Will Be Interested, They’re A Bit Rubbish Anyway And It Probably Wouldn’t Pay Much’. Around halfway down this list is a book provisionally entitled A Hard Day’s Fight, in which I espouse my opinions on a plethora of Beatles-related debates, and add a few new ones of my own.

Songs of murder, rape and desertion

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A century ago, the Orkney poet George Mackay Brown was settling into his first term at Stromness Academy. His schooldays were to prove a dismal grind, but English lessons brought moments of magic. He was especially intrigued by poems – ballads, mostly – signed simply ‘Anon’. The name of the poet was lost – and perhaps there hadn’t been just one but a host of craftsmen in the making of each of these wonders. They were the creation of a tribe, the inheritance of a community, songs ‘seraphically free/ Of taint of personality’. Today, as publishers bust themselves to promote the cult of individual authors, it’s a thrilling, liberating notion.

Nostalgia for the 1980s New Romantic scene 

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It is hard to write the history of a subculture without upsetting people. Events were either significant or inconsequential depending on who was there, which leads to absurdities. When Jon Savage wrote England’s Dreaming, his history of punk, Jenny Turner berated him in the London Review of Books for being ‘a bit of a Sex Pistols snob’. Ironically, the most exclusive British subculture of them all seems to have escaped infighting over who or what mattered, possibly because so few people were part of it. The Blitz, Steve Strange and Rusty Egan’s much mythologised early 1980s nightclub, had a brutally selective door policy.

Bring back the album

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Usually when my tweenage sons ask about relics from my 1990s adolescence – ‘What’s a landline?’ ‘What’s a phone book?’ – we’ll have a good laugh about these obsolete artefacts of the not-so-distant past. But last year when my ten-year-old asked about ‘Immigrant Song’, which he’d heard on the soundtrack to a Marvel movie, and I replied, ‘Oh, I think it’s on the third Led Zeppelin album’, his response left me winded: ‘What’s an album?’ What’s an album? The horror! How had this abject failure of parenting happened? I’ve raised my kids in as analogue a household as possible, with piles of books, newspapers and magazines on every surface. I’ve limited screen time and kept them away from smartphones.

Childhood illnesses and instability left Patti Smith yearning for ‘sacred mysteries’

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The punk icon Patti Smith’s latest memoir stretches from 1940s Michigan to present-day Nice, weaving around and complementing her other works of autobiography in its rendering of formative scenes. These include descriptions of periods of childhood illness, displays of sibling loyalty, powerful encounters with art and poetry, attachment to beloved clothes, marriage to Fred and the deaths of people close. Smith looks ahead to a time when she and her dwindling companions are gone: ‘Write for that future, says the pen.’ Our attention is periodically drawn to the pen’s motion as it ‘scratches across the page’, conjuring a lifetime of fluctuation.

What makes a ‘survivor?’

Are you a survivor? We are not, luckily, all Gloria Gaynors. She declared in 1979: “I’ve got all my life to live, and I’ve got all my love to give/ And I will survive.” Gaynor has, so far, made good on her promise. Surviving afflictions unscathed is not always an unmixed virtue. “She would be earning a good living somewhere… The Mary Taylors of the world were natural survivors,” wrote P.D. James in Shroud for a Nightingale in 1971. Now, even a new biography of Lady Margaret Beaufort (1443-1509) is subtitled Survivor, Rebel, Kingmaker. But what of those poor people who have gone through the misery of child sexual “grooming?” Are they victims or are they survivors? Or should they be neither?

content potash survivor fresh hell

James Heale, Margaret Mitchell, Damien Thompson, Rebecca Reid & Julie Bindel

From our UK edition

26 min listen

On this week's Spectator Out Loud: James Heale considers the climate conundrum at the heart of British politics; Rebecca Reid explains why she's given up polyamory; Damien Thompson recounts the classical music education from his school days; Margaret Mitchell asks what's happened to Britain's apples; and Julie Bindel marvels at the history of pizza.  Produced and presented by James Lewis.

Drowning in the neon swamp of Tron: Ares

Sitting in the nearly empty movie theater at which I saw Tron: Ares, I found myself swamped by neon. Its hues are unappealing in real life – redolent of dive bars, arcades and other unsavory venues – but neon is downright unbearable when experienced in a movie theater, where you have no choice but to stare at the screen unless you want a perfectly good $21.51 to go to waste.

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los angeles

Has Los Angeles killed America’s imagination?

The magnificent Griffith Park Observatory turned 90 this year and, as fans of nonagenarians, my wife and I hiked up the south slope of Mount Hollywood – well, our rental car did the hard work – to pay our respects. The city of Los Angeles sprawled out before us; the Hollywood sign loomed ominously above us. I suppose I should hate this city, the Typhoid Mary of cultural imperialism, infecting and deadening imaginations from Bangor to Bend. As Morrissey crooned: “We look to Los Angeles for the language we use/ London is dead.” But I dunno: it’s my wife’s hometown, I love her Armenian relatives and I’ve always been a sucker for the movies, at least in their pre-CGI, pre-Marvel, pre-woke, pre-franchise age.

Satanic verses: the origins of Roman Catholic black metal

In his youth in the early 2000s, Emil Lundin became obsessed with the idea of recording the world’s ‘most evil album’. The lanky, long-haired Swede formed a black metal band and set to work. He faced an immediate obstacle. In making history’s most nefarious musical creation, he could hardly use Swedish, with its sing-song tones. English was also out of the question: he didn’t want to sound like Abba. That left Latin, the native tongue of the occult and, it is said, of demons. In a quest for suitably devilish lyrics, he pored over arcane texts. That led him to Latin editions of Sayings of the Desert Fathers – bad-ass early Christian monks – and St Augustine’s Confessions.

Admit it: ‘Bohemian Rhapsody’ is terrible

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Queen’s ascendency began at around the same time as the first residents were moving their Axminster carpets and Party Sevens into Tower Hamlets’ Robin Hood Gardens, the Smithson-designed Brutalist estate that would go on to become a typical example of how post-war ‘streets in the sky’ concepts were almost always doomed to fail. Five decades on, just one small section of Robin Hood Gardens has survived for posterity. It’s been acquired by the Victoria and Albert Museum to, presumably, warn future generations of what can happen to a neighbourhood when you combine too much cheap concrete with not enough public consultation. Thanks to Freddie Mercury and co., one solitary example of the very worst excesses of overblown 1970s musical bad ideas persists, too.

My debt to the teacher who introduced me to Wagner

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We saw the world end in Berlin, again. Another Ring Cycle – hurrah! – in the beautiful Staatsoper theatre on Unter den Linden. Christian Thielemann led the house’s superb orchestra from the dawn of Creation in Das Rheingold to the downfall of the Gods in Götterdämerung. It was a brisk Ring, coming in at seven minutes over 14 hours. The playing was magnificent, the singing of a very high order and the anti-mythological staging by Dmitri Tcherniakov startling. Particular praise must go to the Sieglinde of Lithuanian soprano Vida Mikneviciute – try saying that after a few scoops of pilsner. Thrilling hardly does her justice.

Taylor Swift’s new album balances glitter with grit

With The Life of a Showgirl, Taylor Swift set out to do the opposite of her previous record, The Tortured Poets Department. Critics had called that sprawling 31-track project “unrestrained” and “imprecise,” and Swift herself admitted it was a “data dump.” This time, she wanted precision: a lean, 12-track pop record where every beat and lyric fit “like a perfect puzzle.” When Swift announced that music industry legends Max Martin and Shellback were producers on her 12th studio album, fans wondered whether this might herald a repeat of her 2014 smash-hit album 1989.

Showgirl
The Who

The Who’s farewell tour marks the end of an era

The Who are our last great rock ’n’ roll band. More than 60 years after four working-class boys from west London formed a humble R&B combo, the two surviving members look to be hanging up their spurs for good. The Who have named their latest string of engagements – a farewell tour which concluded early this month – “The Song Is Over.” When I caught them in Long Island, rumors of geriatric struggles were soundly put to rest: Pete Townshend, 80, and Roger Daltrey, 81, were in cracking good form. Most concertgoers that night were male, working-class and in their late fifties or early sixties.

Young

A Neil Young concert in the waning days of summer

By the time we got to Woodstock… actually, we never got to Woodstock. Bethel, the town in which the fabled festival of mud and myth took place, is about 50 miles as the crow flies from the famous musical happening’s eponym, and it was at the Bethel Woods Center for the Arts that we saw and heard Neil Young in the waning days of summer, when melancholy always spices the air. It boggles the mind that half a million kids – the youngest of whom are now hoary-headed septuagenarians – flooded Sullivan County on a rain-soaked weekend in August 1969, but it is almost as remarkable that despite the drugs and unhygienic conditions, only three concertgoers died.