Rod Liddle

Rod Liddle

Rod Liddle is associate editor of The Spectator.

Björk: Utopia

From our UK edition

Grade: A A dimbo pop reviewer for one of our national newspapers suggested that on this album, her ninth, Björk was ‘continuing her exploration of structurelessness’. It doesn’t sound wildly enticing, does it? Do go on, etc. It is true that on Utopia there is nothing that has the glorious, simple, pop sheen, and hook, of ‘Venus As A Boy’ from all those years ago. It is true, too, that she looks like a mental on the album cover and cavorts in her videos like a member of the smafolk — dwarfish and ethereal winged creatures from Scandinavian folklore. But then she was never going to act like Bachman-Turner Overdrive, or Kasabian, was she? This is Björk, as she always was.

However you look at it, divorce is a disaster

From our UK edition

I went to Relate once, the counselling service formerly known as the National Marriage Guidance Council. I wasn’t married at the time — this was about 25 years ago — but in a long-term relationship. Or at least it was long-term for me at the time. My girlfriend went with me and I rather hoped they might say to her: ‘Stop shagging that man called Raymond, you little whore.’ But they didn’t at all. They kind of noted the existence of Raymond in what seemed to be a slightly approving manner, and suggested it was probably for the best if we all moved on, separately, away from each other. Relate was founded in 1938 by a clergyman, Herbert Gray, who was worried about rising divorce rates. I think he believed this was a bad thing on the whole.

Disappearing act

From our UK edition

There are many wonderful scenes in the film version of David Mamet’s play Glengarry Glen Ross, but my favourite comes towards the end, between the broken and desperate real estate salesman Shelley ‘The Machine’ Levene, played by Jack Lemmon, and his vile manager John Williamson, played by Kevin Spacey. Levene, facing not merely the sack but probable imprisonment, is pleading for help, cringing and cowering. But he has gone to the wrong man. When he asks Williamson why he won’t help, the manager replies with a magnificent finality: ‘Because I don’t like you.’ And Spacey’s face, almost deadpan for most of the film as he suffers the abuse thrown at him by his salesmen, is now writhed in contempt.

Taylor Swift: Reputation

From our UK edition

Grade: D+ I was suckered in by the brio of Taylor Swift’s first big single, ‘Love Story’, despite the clunking lyrics, which one forgave because of her youth. Just a nice slice of maybe overproduced FM country rock with a simple, but effective, chorus. Forgive me. I did not see the monster she would become. The morphing, over nine years, into a hideous colossus, a purveyor of ever more derivative and anodyne Kardashian pop. Music built not upon a compelling melody or rhythm or slice of lyrical wit but upon the exploitation of the image she has built for herself (cleverly enough, it has to be said). She has spent the past few years on the front pages doing and then undoing a parade of slebdom’s most eligible and handsome men. Good, I have no objection to that.

If you care about kids, give us all the facts

From our UK edition

News programmes are as interesting, these days, for what they don’t tell you as for what they do. So, the ten o’clock news on the BBC on Monday night reported the horrible murder of 18-month-old Elsie Scully-Hicks by her adoptive father, without mentioning that the baby had been adopted by a gay couple. There was a fleeting reference to the murderer, Matthew Scully-Hicks, having a husband, which kind of gave the game away. But otherwise it was something the BBC would rather we did not know, and certainly did not dwell on. Whenever they do something like this, I think it’s important to dwell on it for a bit. There are lots of things they don’t tell you, these days.

Priti Patel is right: Let’s give our foreign aid money to Israel

From our UK edition

So, let me get this right. Priti Patel should resign because, while on a private holiday, she did some work – i.e. meeting foreign politicians. BBC PM's Eddie Mair says she is in serious trouble. Only with arseholes like you, sunshine. The real reason for leftie anguish is that Patel suggested that Israel could possibly receive some of the UK's foreign aid budget for its humanitarian work in the Golan Heights. Too right, Priti. If we are to have a foreign aid budget I think it should all go to Israel. Especially for its humanitarian work in the West Bank and Gaza Strip. Support democracy, militate against our enemies. Frankly I'd be delighted if all of our overseas aid budget were to be hypothecated to the IDF.

Liam Gallagher: As You Were

From our UK edition

Grade: C+ There was a certain thrill to be had from that first Oasis album, Definitely Maybe. Liam’s yob howl and Noel’s magnificent pillaging of T. Rex, the New Seekers, the Pistols, Zep and, of course, the Beatles. By the time the second one came along, you could count me out, what with the asinine, boring, big-bollocked ballads and Noel trying to get terribly meaningful — all reaching a crescendo of stupidity on the dismal Manc whine of bloody ‘Wonderwall’. Their later stuff was snidely put down as ‘Quoasis’ by their rival Damon Albarn — but chance would be a fine thing. At least Quo had a bit of a laugh. So, fast forward20 years. The fractious brothers are, as ever, estranged.

So what attracted you to that powerful man?

From our UK edition

Somewhere towards the end of the 1980s I was suddenly promoted three grades upwards in my job at the BBC; a bit like going from the middle of the old fourth division to the top of the Championship. Yay. The immediate consequences were more money, more power and almost endless opportunities for sexual intercourse. Women who had hitherto been averagely amiable work colleagues became much friendlier — and in a very different way. It was as if I’d been transformed overnight from Marty Feldman into Orlando Bloom. What a delightful period of my life that was.

The kids aren’t all right

From our UK edition

Now that the Scots have banned people from smacking kids — both their own and, presumably, those that belong to other people — I suppose we will dutifully follow suit and another one of life’s harmless little pleasures will have bitten the dust. Fair enough, we can still say horrible, frightening things to them in order to exert a bit of discipline. But the immense satisfaction of hearing them howl in pain from a sharp slap to the leg, or a nasty pinch to the upper arm, will be gone for good.  Not many parents do hit their kids any more. It is already a vanishing art. Smacking unruly brats has been de trop for ages, especially among the middle classes.

Private Eye has become a humour-free zone

From our UK edition

Anyone subscribe to Private Eye? I do, and have done for almost forty years. But I am beginning to wonder why. The cackle quotient declines on an almost weekly basis and this week I couldn’t find a single thing to laugh at. One can usually depend upon Craig Brown’s piece and 'From The Message Boards', which is almost always very cleverly written. But not this edition. There’s also Dumb Britain which often raises a laugh and Pseuds Corner. But the main body of the mag has been a humour-free zone for yonks. A few years back they increased the number of cartoons hugely, presumably in order to fill in for the otherwise utter absence of mirth. But the cartoons – unless the wonderful McLachlan has contributed – are pretty dire and sometimes inexplicable.

What if someone takes the kisses at the end of my emails seriously?

From our UK edition

Very good piece from Giles Coren (as usual) on the intrusive and aggressive act of putting 'xx' at the end of emails. I had been thinking pretty much the same thing. I suppose one could quote Derrida and the structuralists and insist that there is no one-to-one relationship between the signifier (the 'xx') and the thing signified (putting your tongue halfway down some babe’s throat). There certainly isn’t when I do it. But there’s the fear. What if the recipient isn’t a structuralist? Incidentally, if you want to see where we are right now with this issue, just read the comments from Caroline Kirkpatrick.

St Vincent: Masseduction

From our UK edition

Grade: A The old Tulsa sound was a rather agreeable low-key, shuffling, blues-inflected rockabilly — primarily J.J. Cale and Leon Russell. Which then somehow mutated into the anglophile pop of Dwight Twilley. Here’s the third wave of it — probably the best yet, much though I admire all the aforementioned. A strange lady, St Vincent — in real life plain ol’ gender-fluid Annie Clark from Oklahoma. And this is another rather wonderful album from the woman. She may be this decade’s Prince, for the breadth of vision and the invention and crucial ability to wring melodies out of the dead ground. Here and there the listener must navigate around slabs of generic R&B, such as the tiresome title track.

That idiot Trump has got one thing right

From our UK edition

I have been watching Donald Trump closely for more than a year and I have come to the considered opinion that he is a fucking idiot. Yes, this is a somewhat belated Damascene conversion: many of you arrived at this conclusion even long before I was whooping and hollering in paroxysms of pleasure at his election a year ago. Hell, sometimes I get things wrong — apologies. I accept entirely that his constant tweeting is an attempt to counter an almost uniformly hostile press corps both in the USA and abroad. But that does not excuse the sheer illiteracy and pig-ignorance, the boastful, often spiteful, and inane childishness of said communications.

Blame the grown-ups for the safe-space tribe

From our UK edition

A car driver ploughs into a bunch of people outside the Natural History Museum in London and lefties are furious mostly because the right-wing columnist Katie Hopkins thought it was another jihadi attack. For thinking this she is a racist bigot and consummately evil — despite the fact that I suspect most Londoners thought precisely the same as Hopkins when they heard the news. We are in the bizarre situation where horrible incidents not perpetrated by Muslims are gleefully welcomed by the lefties because they believe it adds grist to their idiotic mill: other people are capable of driving cars into pedestrians, you see, so it is racist to suggest that radical Muslims have a particular predilection for doing so.

It’s time to call it a day on this Tory government

From our UK edition

Some of you may not like this, but the BBC Ten O'Clock News last night was pretty scrupulous in its coverage of the Prime Minister’s speech, and Laura Kuenssberg – not always my favourite news bunny – delivered a very good piece indeed. She trod the line between sympathy, analysis and an acute feeling in the hall, unspoken, that this party, and this leader are most likely not long for this world. Michael Deacon in the Telegraph got it right, too, with his opening line: 'Poor woman. Poor, poor woman.' Yes, quite. None of yesterday's humiliations were really her fault. An arsehole, a deathlessly unfunny self-publicist gurning for the camera with his fatuous little stunt (how the hell did he get there?) and a bad cough.

The shootings prove…

From our UK edition

It is terribly important whenever an atrocity occurs to scour the internet for information — however specious — that proves you were right all along about something. It is best to do this before the authorities have made their official statements about the outrage, but also while they are doing it and afterwards. But speed is of the essence — if you can do it while people are still bleeding to death, so much the better. And so it was with the Las Vegas shooting. There was palpable disappointment expressed online by right-wing people at the apparently incontestable fact that the perpetrator was white. Not a Muslim at all. (Although some right-wingers do subscribe to the notion that Stephen Paddock was photoshopped, or something, by the CIA. Or the FBI. Whatever.

The dwarves of death who control your TV

From our UK edition

My own fault, I suppose, for turning on the television. Not an action I undertake very regularly these days, because I am trying to be a nicer person. Some time ago, Charles Moore wrote in his Spectator diary about a hitherto ghastly, bitter old woman who had suddenly become much more pleasant to everybody. What had effected this change? ‘I have stopped reading the Daily Mail,’ she explained. So it is with me and the idiot box. I become so enraged at being clubbed over the head by the politically correct dwarves of death who inhabit that poxed machine in the corner that I stamp around and make everybody miserable with my ranting. Not just the news programmes, either, although they’re the worst.

LCD Soundsystem: American Dream

From our UK edition

Grade: B+ Number one. Everywhere, just about. You have to say that the man has a certain sureness of touch. Hip enough not to be quite mainstream, rock enough not to be quite pop. The knowing nods — to Depeche Mode, Eno, 1970s post-punk and 1980s grandiosity and always, always, Bowie. Fifteen years on from James Murphy’s first excursion in these clothes and the man from New Jersey, now grizzled and greying, has come up with an album as good as any he’s made — which is a qualified nod of admiration: I often find his tunes too eager to please, the neatly corralled stabs of funk a little forced. Murphy always wants to have his cake and eat it, get the dance crowd in and the indie kids too. You have to say that, commercially, this formula works.

Poor old Ron and Pen, just trying to help

From our UK edition

Here’s the problem. An Asian bloke gets on to the Tube holding a bulging Lidl bag with wires sticking out of it. I don’t know if it had the words ‘large bomb’ written in Magic Marker on the side of the bag. Anyway, a little later, it blows up, and lots of people are injured. Later again, surprise is expressed that he had been able to get through with his primitive bag of tricks. We are continually exhorted to be vigilant on public transport, so why wasn’t he apprehended? Did nobody think it looked a bit suspicious? I have the feeling we know the answer to that. Just think of the howl-round, the furore, if the man had been pulled over and it hadn’t been a bomb.

An orchestrated race storm

From our UK edition

A fascinating story has emerged from a north-western leftie quadrant of the United States: the sacking of British conductor Matthew Halls from his post of artistic director of the Oregon Bach Festival, in the college town of Eugene. Mr Halls insists he has not been told why he has been fired. Sponsors and supporters of the festival are also in the dark. Oregon University, which runs the bash, has said only that it intends to pursue a ‘different direction’ to the one pursued by Mr Halls, and hence he has to go. I would have thought there were a limited number of directions one could pursue with a Bach festival, most of them in the general direction of playing some Bach, but there we are. However, a very close friend of Mr Halls’s thinks he knows why he was fired.