A dark Swiss secret

 

From unsplash.com / © Nadine Marfurt

 

I seem to have spent a lot of time recently living in the past, which is no doubt due to the lack of anything happening in the present.  And that, of course, is because of the ongoing and seemingly never-ending Covid-19 pandemic.  Since August 20th, Sri Lanka, the country I’m currently resident in, has been in its third period of lockdown.  When it was announced, my partner and I had just ended a state of self-imposed lockdown, for one of our friends was diagnosed with Covid-19 at the start of August and we’d had to self-isolate.  So, basically, we’ve seen little apart from the inside of our flat for the past two months.

 

Anyway, the following entry is a little stroll down memory lane that I originally posted on this blog in 2015.  While it looks back (fairly) fondly on an adventure I had in 1983, what revived my memories of the adventure was a disturbing article about Switzerland that I’d just discovered on the BBC news website.

 

For two months in the late spring and early summer of 1983 I worked on a farm in the Swiss municipality of Niederweningen, which is a 35-minute train ride out of Zurich.  I can safely say that in terms of sheer, hard, physical work, I’ve done no job like this before or since.

 

At the time, I was in the middle of taking a year out between the end of high school and the start of college.  As far as I remember, nobody else in my school-year did this.  Those who intended to go to college did so in the autumn of 1982, a few months after they’d left school.  Everybody around me, including my parents, seemed to think I was insane for delaying my entry to college by 16 months and spending the intervening period doing loopy things like working on a farm in rural Switzerland.  Nowadays of course, nearly four decades later, you’re considered insane, and lacking in initiative and employability, if you enter college and you haven’t taken a year out, or a gap-year as it’s known in modern parlance.  (At least, that’s how it was before the Covid-19 pandemic and presumably how it’ll be again after the pandemic.)

 

In 1982 I’d discovered an agency called Vacation Work International, which for a small fee arranged paid working holidays in Switzerland.  Switzerland wasn’t top of my list of places to visit but Vacation Work accepted people from the age of 17 upwards.  I was 17 at the time and other foreign-job agencies I’d tried had turned me down because, due to visa regulations, they could only take on people who were 18 or older.  In October 1982, Vacation Work fitted me up with a month-long job as a grape-picker in a vineyard near Lausanne in French-speaking western Switzerland.  This was a tough (and wet – those Swiss wine-producers had a very rainy grape harvest to deal with in 1982) but tolerable job.  So, after spending some time travelling in central Europe and working with the Community Service Volunteers in the English Midlands, I thought I’d contact Vacation Work again and give something else on their Swiss brochure a go.  This time I plumped for a two-month package where I’d work as a farmhand.

 

One thing this job did immediately was rid me of the assumption that everyone in Switzerland wore a smart suit and earned pots of money working in a bank.  The farming family whom Vacation Work attached me to were not wealthy; certainly not by the standards of any farmer I knew back in the UK (and my Dad is one).

 

Their house was plain but serviceable, but certain things I’d assumed would be a feature of any household in Western Europe, however rich or poor, such as a television set, were absent.  One basic commodity that seemed to be lacking was a decent strip of flypaper because, although the house was reasonably clean, its dining table was always plagued by swarms of big, impudent flies.

 

Their farmstead possessed a tractor, a trailer and one or two other bits of machinery, but nothing like what even a modest British farm would be equipped with.  When the farmer, Hugo, wanted to bale some hay, he had to arrange for the use of a baler that seemed to be shared among a number of farms in the valley.  And there were no machines for spraying or weeding crops.  Those chores had to be done by someone with a heavy tank of weed-killer strapped onto their back or by someone wielding a hoe, monotonously, all day long, up and down the furrows of a field.  Similarly, such devices as front-end or back-end loaders were considered an unaffordable luxury.  For shifting things like dung or loose hay, the shovel and the pitchfork were the order of the day.  During my two months there, such basic tools were rarely out of my hands.

 

My abiding memory from those two months is of the daily schedule.  Hugo would usually come knocking at my door at 5.30 in the morning and after a hurried breakfast both of us would be outside, ready for action, at 6.00.  We’d have an hour’s break at lunchtime.  We’d spend the first half that lunch-hour eating and then Hugo would give me a pitying look and suggest, “Jan…”  – neither Hugo nor his family could ever get their tongues around the correct /ǝın/ pronunciation of my name – “…eine halbe Stunde.”  During this free half-hour, I’d usually doze off in my room and wake up 20 or 25 minutes later with a headache and a rotten taste in my mouth that suggested I’d just been chewing a dead frog.

 

At some point in the early evening there’d be another meal, but the work usually continued until 8.00 or 9.00 PM.  During a busy period, like when we were hay-making, we didn’t clock off until after 10.00.  This was the routine six days a week.  Only Sundays were free.  I calculated I must be doing 70 to 80 hours of physical labour each week.  I’d grown up on a farm, and indeed the previous year I’d spent a busy summer working on my uncle’s farm in Ireland.  But I hadn’t done anything on the scale of this.

 

© schweizerdeutsch-lernen.ch

 

That said, I did quite enjoy myself.  I got on well with Hugo and his family were civil to me, although because I was equipped only with the basic German I’d learnt at school and as they spoke the robust – some would say impenetrable – dialect of German known as Schweizerdeutsch, communication was often difficult.  At the end of 1983, I received a nice Christmas card and letter from Hugo and his family, which had been written in English by one of their children who was learning the language as school.  It wasn’t very comprehensible and I wondered if I’d sounded as strange to them when I’d spoken German.

 

The family were also kind enough at the end of my two-month service to present me with a going-away gift: a bottle of illicitly-homemade kirsche.  This bottle of kirsche lasted for the next two years, into 1985.  It was so strong that it could be supped only in minute quantities.  A couple of times I sneakily gave glasses of it to college acquaintances who liked to boast about their drinking prowess and, soon after, enjoyed the spectacle of them falling unconscious.

 

Pleasant too was the scenery at Niederweningen.  It wasn’t mountainous but, half-farmed, half forested, it was gorgeous in a sedate, pastoral way.  And I formed a friendship with another Vacation Work person who’d been assigned to a neighbouring farm, Rebecca Macnaughton.  Thanks to the miracle of the Internet, we’ve kept in touch to this very day.  Actually, no matter how long and how hard I worked, it never seemed to stop me from accompanying my Vacation Work colleague down the road to the local pub for a beer after I’d finally finished for the day.

 

One evening, we tried exploring a different road and happened across a small restaurant that was run, somewhat unexpected, by a well-travelled and very interesting Sri Lankan guy.  In fact, he was the first Sri Lankan I’d ever met and I never imagined that, later in my life, I’d spend seven years living in his home country.  Anyway, he described how, previously, he’d worked in Zurich with some young Swiss heroin addicts.  And suddenly another of my assumptions about Switzerland, about how it was a bastion of order, decency and law-abidingness, had been turned on its head.

 

One other positive thing about the experience was how physically fit I felt afterwards.  Nowadays, with my body wracked by arthritic aches and pains and my waistline fighting a losing battle against a beer-belly, I look at photographs taken of me after I’d arrived home and can hardly believe how athletic I looked then.  Indeed, one of the things I did after that was to spend a fortnight tramping around the Lake District and I seem to remember bounding about those Cumbrian fells like a mountain gazelle.

 

For my Swiss farm-work I was paid a modest wage, but I was never sure if that wage came out of Hugo’s pocket or if it was provided under some Swiss farming subsidy scheme.  From what I could gather, the people provided by Vacation Work International were just one input in a system that saw lots of foreign people working cheaply on those modest-sized, modest-resourced farms.  Hugo told me how one farmhand who’d worked for him previously was an African bloke.  He’d also employed someone, at some point, from the Faroes Islands.  Hugo and the Faroese guy had got along so well that the latter still phoned him for a chat from time to time, from his home in the North Atlantic.

 

Mind you, the annual presence of foreign farmhands didn’t seem to improve Hugo or his neighbours’ knowledge of the outside world.  I recall one lunchtime having an argument with him and one of his neighbours about where Albania was.  I was the only one who maintained that it was in Europe.  Eventually, one of Hugo’s kids’ school atlases was dug out and consulted and, yes, it transpired that I was correct.

 

From wikipedia.org / © Roland zh

 

I’ve written nostalgically about my days on a Swiss farm, but I have to admit that what rekindled my memories of them and inspired me to write this blog-entry was something altogether darker.  Whilst browsing through the online back-pages of the BBC News website magazine, I happened across an article about a phenomenon that the Swiss authorities had until recently kept quiet about.  The article is called SWITZERLAND’S SHAME – THE CHILDREN USED AS CHEAP FARM LABOUR and is written by Kavita Puri.

 

This describes the old Swiss practice of taking orphaned children, or the children of unmarried parents, or children from poor backgrounds, and using them as ‘contract children’; as ultra-cheap labour, often on farms, where they were vulnerable to exploitation and abuse.  Part of the reason for this was simple economics.  Prior to World War II Switzerland wasn’t a wealthy country and a low-costing workforce for its agricultural sector had to be found somewhere.  However, it was driven too by an unforgiving attitude towards poverty.  As one historian explains: “It was like a kind of punishment.  Being poor was not recognised as a social problem, it was individual failure.”

 

The phenomenon of contract children – which over the decades is believed to have involved hundreds of thousands of Swiss youngsters – began in the 1850s and continued for the next century.  It didn’t peter out until the 1960s and 1970s, when “farming became mechanised” and “the need for child labour vanished.”  Also, “(w)omen got the vote in 1971 and attitudes towards the poor and single mothers moved on.”  Even so, Puri’s article mentions one case of agricultural child labour that occurred as late as 1979, just four years before I arrived there for my 70-to-80 hours of weekly hard labour.  What a sobering thought.

No country for young men

 

From unsplash.com / © Piret Ilver

 

Reading last week’s news reports from the United Kingdom, I didn’t know whether to laugh or cry.  The media minister John Whittingdale reached levels of daftness I thought were beyond even Boris Johnson’s Conservative government when he declared at the Royal Television Society Convention that the BBC, ITV and Channel 4 should make television programmes that ‘showcase British culture’ and ‘reflect Britain and British values’.  However, subsequent plans set out by the spectacularly useless Brexit minister Lord Frost that would allow shops, supermarkets and market stalls to sell their wares using old imperial measurements went rocketing into even higher parts of the stratosphere of stupidity.

 

I’ll talk about the measurements first.  The Conservatives are well aware that the bulk of their support lies among people who are older, more set in their ways, more likely to have acquired property and savings and more susceptible to fearmongering baloney from the Daily Mail and Daily Express about socialists wanting to redistribute their wealth.  So, I suppose Conservative Party apparatchiks believe they’re appealing to this constituency and its sense of nostalgia by bringing back the good, old-fashioned ounces, pounds, quarts, pints, inches, feet, etc., that were the units of measurement in their youth.  But hold on.  I’m now closer to sixty than I am to fifty and even I can’t remember a time when I measured things and made calculations using the imperial system.

 

When I was a kid at primary school in the early 1970s, it was the metric system I learned about – millimetres and centimetres, metres and kilometres, millilitres and litres, grammes and kilogrammes.  And it was really easy.  Everything was organised in tens, hundreds and thousands.  Even if you had neutron-star levels of denseness when it came to maths, you knew that to multiply something by tens, hundreds or thousands you just added one, two or three noughts to the number in question.

 

My parents, I have to admit, struggled to get their heads round the metric system.  This astonished me.  Just a couple of years earlier, they’d happily been performing mental gymnastics every time they went into a shop and used the UK’s pre-decimalisation currency system that had – yikes – one pound consisting of 240 pennies.  Also, I remember watching an early episode of the saucy department-store sitcom Are You Being Served? (1972-85) wherein battle-axe sales assistant Mrs Slocombe was so confused by centimetres that she called them ‘centipedes’.  Wow, I thought.  Mrs Slocombe must be really thick.

 

From nowthatsnifty.blogspot.com / © BBC

 

And what do I know of the imperial system today?  Well, words like ‘miles’, ‘stones’ and of course ‘pints’ are ingrained on my vocabulary because they never disappeared from British road-signs, weighing scales or pub-menus.  But like most people my age and younger, I suspect, how these units fit together is a mystery to me.  I know there are twelves inches in a foot, because inches and feet were marked along the bottom side of my school ruler, which had 30 centimetres marked along the top side that I measured things and drew straight lines with.  And I know there are 14 pounds in a stone… or is it 16?

 

But the rest is just baffling.  The relationship between feet, yards, chains, furlongs and miles?  I haven’t a scooby.  (Okay, having just checked the Internet, I can report there are three feet in a yard, 22 yards in a chain, ten chains in a furlong and eight furlongs in a mile.)  Between stones, hundredweights and tons?  No bloody idea.  (Again, having checked: 14 pounds make a stone, 112 pounds make a hundredweight and 2240 pounds make a ton.)  Gills, pints, quarts and gallons?  I’m totally clueless.  (In fact: four gills make a pint, two pints a quart and four quarts a gallon.)

 

So, anyway.  The British government is about to give retail businesses the go-ahead to inflict upon their customers an archaic system of measurements that the majority of Britons under the age of 60 don’t understand and, even if they did, would find migraine-inducingly difficult to calculate in…  All part of the impeccable logic of 2021 Brexit Britain.

 

From unsplash.com / © Edson Rosas

 

I suppose John Whittingdale’s proposals about British TV programmes having to contain a quota of ‘Britishness’ make slightly more sense because fewer young people nowadays watch ‘linear’ TV – i.e., programmes that are broadcast on a particular channel according to a pre-determined schedule.  The traditional, old-fashioned sort of telly that the politicians are obviously thinking about here is watched by an older and more conservative demographic, so having programmes with a more patriotic slant would probably go down well with many of the viewers.  But that’s not to say that the concept isn’t idiotic.

 

The examples Whittingdale cited of TV shows that reflect ‘Britain and British values’ include The Great British Bake-Off (2010-present) – well, I suppose the clue is in the name; the Carry On films, which, oddly enough, aren’t actual TV shows at all, but films; Only Fools and Horses, a sitcom that started in 1981 and ended its run as a series in 1991, three decades ago; and, surprise, museum-piece drama Downton Abbey (2010-11), created by Julian Fellowes, now incidentally a Conservative peer in the House of Lords, and which the late A.A. Gill once memorably described in the Sunday Times as “everything I despise and despair of on British television: National Trust sentimentality, costumed comfort drama that flogs an embarrassing, demeaning, and bogus vision of the place I live in.”

 

The idea of promoting ‘Britishness’ and ‘British values’ in TV programmes shatters into tiny, ridiculous pieces the moment you think about it.  Being British is something that applies (whether they like it or not) to Diane Abbot, Monica Ali, Alan Bennett, Anjem Choudary, Jeremy Clarkson, Nick Cohen, Arlene Foster, Armando Iannucci, Ken Loach, Val McDermid, Sir Steve McQueen, Meera Syal, Peter Tatchell, Gok Wan and Leanne Wood.  It applies to the current darling of the British media, the British-Romanian-Chinese-Canadian tennis player Emma Raducanu and, God help us, to Jacob Rees Mogg.  Good luck with finding common values among that lot.  Not that these disparities matter to Whittingdale and his government colleagues, who seem to believe being British means either being a toff with oodles of money, servants and a cut-glass accent – as represented by Downton Abbey – or being a working-class Cockney who likes a bit of a ‘laff’ (see Only Fools and Horses) and a bit of good-natured smut (see Carry On Up the Double Entendre or whatever).

 

From Gold / © BBC

 

Still, something in Whittingdale’s reptile brain made him realise there were people in the UK who didn’t fall into these two categories.  Presumably, this was why he cited the Northern Irish comedy Derry Girls (2018-2019) as another example of Great British programming.  If it was an example of that, though, shouldn’t it be called Londonderry Girls?

 

I suppose the thinking is, with the idiotic and Tory-approved decision to leave the European Union subjecting Britain to food shortages, jacking up its energy prices and wrecking its farming, retailing and other industries, the government needs a distraction.  Especially, it needs to distract the elderly folk most likely to vote for them.  Thus, they promote garbage like this in the hope it’ll kindle a rosy, agreeable glow of nostalgia in such folk.  And, with a bit of luck, it’ll enflame them too, making them believe the government is waging a culture war on their behalf against horrible, woke Marxists and anarchists who want to destroy the British way of life by using centimetres and kilogrammes and dismissing Downton Abbey as a pile of cobwebbed shite.

 

Incidentally, in the same vein, here are the moves I expect Boris Johnson’s ministers to announce next:

 

  • Banning all computer games whilst bringing back the patriotic British World War II comics of the 1970s. Instead of rotting their brains playing Assassin’s Creed Valhalla or Batman: Arkham City, British kids will develop some proper red, white and blue grit by reading about the adventures of D-Day Dawson in Battle and Union Jack Jackson in Victor, once a week, on cheap crinkly paper whose ink comes off on their hands.

 

 

  • Bringing in new laws to enforce the wearing of patriotic, and groovy, British fashions like platform shoes, bell-bottoms, plaid jackets, wide-lapel shirts, turtlenecks, cravats and long, lank greasy hair, so that everyone looks like a character in a 1970s Pete Walker horror movie.

 

  • Abolishing health and safety rules so that children can once again experience the adventure and thrill of playing around railway cuttings, disused canals, electrical sub-stations, slurry pits and tracts of dark and lonely water, like (the survivors of) their grandparents’ generation used to do.

 

From nationarchives.gov.uk

 

  • Bringing back hanging. To be honest, I’m not joking now.  With Priti Patel as Home Secretary, I can see this happening.

Some thoughts on Columbo – from Colombo

 

© Universal Television

 

When I was a kid during the 1970s, British television was awash with imported American detective and police series.  My schoolmates and I agreed that the genre had a ‘big five’ – maybe because the title characters of these five shows had gimmicks that impressed them deeply on our young consciousnesses.

 

There was Kojak (1973-78), whose detective hero was unashamedly bald, which meant anyone coming to school with a new haircut would be nicknamed ‘Kojak’ for days afterwards; Ironside (1967-75), whose hero was confined to a wheelchair; Cannon (1971-76), whose hero was fat – cue more cruel nicknames at school for kids slightly on the stout side; McCloud (1970-77), whose hero was a cowboy; and Columbo (1971-78), whose hero, essayed by Peter Falk, sported a grubby raincoat, unkempt head of hair and smelly-looking cigar and generally looked a bit manky.  Such was Columbo’s level of scruffiness that, whilst carrying out investigations in a soup kitchen in the 1974 episode Negative Reaction, a nun working there (Joyce Van Patten) mistook him for one of its homeless patrons.

 

In the half-century since, I’ve seen episodes of those shows repeated on TV, often on obscure satellite channels, and I have to say most of them have fallen victim to what is known in contemporary slang as the ‘suck fairy’.  This is neatly defined on fanlore.org as a “mythical creature who comes to old favourite books, art, TV shows or other media that one has not revisited in years, takes away everything in them that one loved, and refills them instead with suck.”

 

The shows seem formulaic, unmemorable, even dreary now, indistinguishable from a million other pieces of conveyor-belt-produced 1970s American TV.  Was this really the stuff that inspired us as ten-year-old kids to strut around the playground speaking in wavery drawls, like Dennis Weaver’s Deputy Marshall Sam McCloud, applying his cowboy law-enforcement techniques to the bad guys of New York (where he was on seemingly never-ending loan to the NYPD from the police department of Taos, New Mexico)?  Or inspired us to puff out our bellies and lurch / amble across the playground in imitation of William Conrad’s Private Detective Frank Cannon chasing the villains?  (Cannon, despite his obvious lack of athleticism, was able to not only run after those villains but also, somehow, catch them.)

 

However, there are two exceptions to the suck fairy rule.  One is the earlier episodes of Kojak, which capture something of 1970s New York’s sleazier side.  The other is Columbo, which although the episodes vary in quality, is frequently brilliant.  Today is September 15th, 2021, exactly 50 years to the day since Columbo debuted on American TV – not as a show with a weekly slot, but as ‘rotating episodes’ in the NDB Mystery Movie series, where it alternated with McCloud and McMillan & Wife (1971-77).  Incidentally, surely even Quentin Tarantino has difficulty remembering McMillan & Wife these days.

 

To mark the occasion, and because I’m currently living in the capital city of Sri Lanka, here are some thoughts on Columbo – from Colombo.

 

© Universal Television

 

Actually, there’s little I can say about Columbo that hasn’t already been said in this feature by Shaun Curran, which recently appeared in the BBC website’s ‘Culture’ section.  I’d take issue with one of the feature’s comments, though, that the ‘concept of class warfare wasn’t central to the creators’ thinking’.

 

Well, class warfare may not have been on the radar of William Link and Richard Levinson, the writing-producing duo who invented the character.  But I’m pretty damn sure it was at the forefront of most viewers’ minds while, episode after episode, they watched Columbo, the most humbly blue-collar of detectives, use his softly-spoken but bloody-minded persistence to wear down a succession of rich, arrogant, entitled sophisticates who, convinced of their own brilliance, believe they’ve just committed the perfect murder.  I’m certain those viewers cheered when, at the end of each episode, Columbo comprehensively outsmarted those bigshots and nabbed them for their misdeeds.

 

The show’s atypical structure saw each episode begin with some stinkingly rich, stinkingly amoral character – an art dealer, a bestselling novelist, a company CEO – commit a murder in some ingenious fashion.  Immediately, we’d be plonked into that person’s affluent world: mansions, penthouses, country retreats, exclusive clubs, golf courses, fancy cars, swimming pools, yes-men, servants, hangers-on.  Columbo wouldn’t appear until after 20 minutes or so, when the police are called.  You can imagine the murderer’s mental cry of delight when they realise that this bumbling, zero-class klutz is handling the investigation.

 

Ah, but the viewers know better.  Columbo is on the case and the disgustingly wealthy git is going to suffer.

 

His apparent obsequiousness (“The wife thinks you’re terrific!”) gives way to a gradual but relentless process of psychological torture as some teensy-weensy inconsistency (“Just one more thing… One thing that’s bothering me…”) arouses the wily detective’s suspicions and he starts tightening the screws on his quarry.  No wonder that when the climax of each episode arrives and Columbo reveals all – usually by setting some final trap in which the culprit irrefutably incriminates him or herself – arrest is usually accepted with a minimum of fuss.  The bigshot murderer has been thoroughly ground down by this disheveled, raincoated dispenser of justice.  Prison will seem a blessed relief after what they’ve just been through.

 

Colombo, with his rubbish clothes, hair and car (an elderly Peugeot 403), his clumsiness, his dozy dog and his bossy wife who, despite never making an appearance, lurks as a formidable presence in the background, might be an everyman figure.  But he also helps rectify the injustices in the American Dream that allow such unprincipled scum to rise to the top while the decent folk get stuck at the bottom.  As Joyce Van Patten’s nun remarks in Negative Reaction, “A man’s worth is not judged by the size of his purse.”  Really, each episode of Colombo ought to be watched with L’Internationale playing softly in the background.

 

© Universal Television

 

So, which are my favourite Columbo episodes?  Well, there’s 1973’s A Stitch in Crime, which is fascinating because Columbo is pitted against Mr. Spock himself, Leonard Nimoy, who plays an ambitious heart surgeon using his medical know-how to bump off a colleague so he can take control of a research project.  Ironically, this episode has less logic and more emotion on display than usual.  We get a rare glimpse of Columbo losing his cool.  When Nimoy laughs at him condescendingly, he smashes a water pitcher onto the former Vulcan’s desk and spits: “I believe you killed Sharon Martin… and I believe you’re trying to kill Dr Heideman!”

 

Then there’s Double Shock, also from 1973, in which smug – okay, all Columbo villains are smug – identical twins, played by Martin Landau, conspire to kill their wealthy uncle by electrocuting him while he’s having a bath.  What makes this episode a joy is the horror shown by the victim’s prim, cleanliness-obsessed housekeeper (played by Jeanette Nolan) while Columbo trudges about her pristine household with his dirty shoes and crumbling cigar.  You get the impression she’d rather have her employer’s murder go unsolved than have this apparent oaf tramp over her expensive carpets.  “You belong in some pigsty!” she shouts at him, patience finally snapping.

 

The shiny-pated, bug-eyed Donald Pleasence was everywhere in 1970s films and television, so it was inevitable that he’d turn up in Columbo.  In the episode Any Old Port in a Storm, yet another one from 1973, he plays a fanatical wine connoisseur who at one point rages at a waiter: “This wine has been oxidized by overheating…!  An exciting meal has been spoiled by the presence of this liquid filth!”  However, unusually, Pleasence’s character is sympathetic overall.  Indeed, he only murders his dastardly half-brother when that half-brother threatens his beloved winery.  And, unlike most of Columbo’s adversaries, he’s sporting in defeat.  When he realises the game is up, he even shares a final glass of wine with the detective.

 

1974’s Swan Song has Colombo investigating a plane crash that’s resulted in the deaths of two women. One is the wife and the other is the backing singer of country-and-western star Tommy Brown, who was piloting the plane and miraculously got thrown clear during the impact and suffered only minor injuries.  But the truth is less miraculous.  Brown had got himself into a compromising situation with the background singer when she was way too young for such things, and his wife (played by the marvellous Ida Lupino) was blackmailing him into donating large sums to a religious project she championed.  To rid himself of these two sources of torment, he drugged them when they were on the plane, bailed out with a parachute, and turned up at the crash scene to make it look like he was on board when it went down, but survived.  I find this episode’s script far-fetched, but as Brown is played by Johnny Cash, and it’s basically Columbo versus the Man in Black, it makes my pick of favourites.

 

© Universal Television

 

However, my all-time favourite Columbo episode is Troubled Waters, a 1975 episode that has Columbo and the missus taking a break on a 1970s cruise ship, an experience that I have to say looks like hell on earth.  Columbo is asked to help after rich slimeball passenger Robert Vaughn murders the ship’s lounge singer and tries to pin the blame on a pianist (played by Dean Stockwell).  What makes this episode a pleasure is not only that Columbo is up against Vaughn, The Man from UNCLE (1964-68), but also that he’s allied with John Steed from The Avengers (1961-69), for playing the perplexed ship’s captain is none other than the splendid Patrick Macnee.  While Columbo drives Macnee and his crew to distraction by insisting on calling their beloved ship a ‘boat’, we get tantalising suggestions that we’re going to see Mrs. Columbo at last – though inevitably, Columbo, and the viewers, keep ‘just missing’ her.  (When the purser informs Columbo that the captain would like to see him, he asks worriedly, “It’s not about my wife, is it?  I mean… she likes to have a good time, sometimes she gets carried away…”)

 

Columbo was revived in 1989 and carried on with another two dozen episodes and specials until 2003, eight years before Peter Falk’s death.  These later Columbo-es weren’t as good as the ones from the 1970s, although it was always a pleasure to see the character on screen, still socking it to the high and mighty.

 

With Falk gone, there’s been talk of remaking the show, the most promising talk proposing Mark Ruffalo as the actor who’d take over the raincoat.  Now, while Columbo obviously wouldn’t be the same without Falk, I’d still welcome a modern-day version of the show that has the rumpled detective shuffling into luxury 2021 penthouses with his shabby raincoat and malodorous cigar, first inviting derision from, then causing irritation to, and finally striking terror into the likes of the Trumps, the Kardashians, the Kochs, the Murdochs, the Musks and so on.  I’d welcome the sight of him annoying villainous investment bankers, hedge fund managers, real estate tycoons, arms dealers, celebrity reality-TV stars and pampered YouTube influencers into submission, before collaring them and sticking them behind bars.

 

Yes, today, when a quarter of the world’s wealth now resides in the pockets of some 175,000 billionaires and multi-millionaires, and much of it didn’t get into those pockets through honest means, we need Detective Lieutenant Columbo more than ever.

 

© Universal Television

21st century metal

 

© Nuclear Blast

 

Such has been the fanfare recently over the return of Swedish 1970s pop darlings Abba, with a new ten-song album and a supposed ‘virtual concert’ where ‘digital avatars’ will perform in the shoes of the band’s now somewhat long-in-the-tooth members, that I’ve wondered if I’m the only person in the world who doesn’t actually like Abba.

 

Okay, ‘doesn’t like’ is a bit strong.  A more accurate verb-phrase would be ‘is totally indifferent to’.

 

There are a couple of Abba songs that get me tapping my foot in a vague, mindless way, like Gimme! Gimme! Gimme! or Money, Money, Money (both 1979) or the song with which they won the 1974 Eurovision Song Contest, Waterloo – which, come to think of it, was an appropriation of the breezy, sax-laden sound of Roy Wood’s glam-rock band Wizzard.  But unlike, say, the entire population of Australia, a country that’s given us such Abba-obsessed cultural phenomena as the cover band Bjorn Again and the movies Priscilla, Queen of the Desert and Muriel’s Wedding (both 1994), I don’t worship the ground that the shiny, 1970s, high-heeled boots of Agnetha, Anni-Frid, Benny and Bjorn have walked on.

 

However, while the planet’s airwaves turn into the equivalent of the soundtrack of Mamma Mia! (2008), though thankfully without the pained, raspy sound of Pierce Brosnan attempting to sing, I will seek solace in the one type of music that truly matters… heavy metal.

 

Here’s a quick guide to the heavy metal bands, all of whom have become prominent since the beginning of the new millennium, that I’ve been listening to lately.

 

Al-Namrood

As this 2015 feature in the magazine Vice noted, “Al-Namrood have never played a live show, because it could result in the entire band being executed.”  That’s because the band Al-Namrood (a) play black metal and (b) are Saudi Arabian, two concepts that go together about as harmoniously as serpents and mongooses. According to their guitarist and bassist Mephisto, who, like all the band’s members, has never revealed his real name for his own safety, “Al-Namrood is the Arabic name of the Babylonian king Nimrood, who was a mighty tyrannical king who ruled Babylon with blood and defied the ruler of the universe.”  Yes, those sound like pretty black metal things to do.  It’s a shame that the band has had to operate so far off the grid because the music by them I’ve heard, its growling vocals and relentlessly thunderous guitars and drums laced with delicious Arabic folk stylings, I’ve found irresistible.

 

Behemoth

Polish black metal and death metal band Behemoth are similarly unloved by their country’s political and religious establishment.  And though the repercussions obviously won’t be as serious as those risked by Al-Namrood in Saudi Arabia, Behemoth’s frontman Adam ‘Nergal’ Darski has recently been convicted of blasphemy and could face imprisonment in the increasingly authoritarian Poland of Andrzej Duda. Actually, politically, Nergal has proved to be a bit of a knobhead in the past and once gained notoriety for wearing a ‘black metal against Antifa’ T-shirt, so it’s ironic he’s become a martyr in the struggle against the forces of extreme, right-wing knobhead-dom.

 

Behemoth first caught my attention when I listened to their 2018 album I Loved You at Your Darkest, which begins with a choir of creepy children chanting, “I shall not forgive… Jesus Christ… I forgive thee not…”  Thereafter, the album is a brilliantly Wagnerian parade of tunes with such titles as God = Dog, Ecclesia Diabolica Catholica and If Crucifixion Was Not Enough.  Can’t imagine why those pious Polish politicians don’t like them.

 

© Earache Records

 

Cult of Luna

Proof that, musically, Sweden has considerably more to offer than just Abba, Swedish doom metal band Cult of Luna serve up tunes where big, booming slabs of guitar lumber ominously along, accompanied by hollering and shrieking vocals, creating a sound that suggests a world teetering on the brink of collapse while simultaneously being strangely exhilarating and even uplifting.  The earliest album of theirs I’ve heard is 2003’s The Beyond, the most recent one 2021’s The Raging River.  Though there’s evidence of development and exploration between the two, the basic template is reassuringly the same.

 

Electric Wizard

Hailing from County Dorset, England, the original members of Electric Wizard bonded in the 1990s over a shared love of horror films, the writings of H.P. Lovecraft and the music of legendary Brummie metal band Black Sabbath.  It was from the titles of two Sabbath songs, Electric Funeral and The Wizard (both 1970), that they devised their band’s name.  For me, they just seem to get better and better – from early albums like Dopethrone (2000) and Let Us Prey (2002) to their most recent opus, Wizard Bloody Wizard (2017), which contains the deliriously catchy track Necromania.

 

In fact, someone has stuck a fan video for Necromania on YouTube, its visuals stitched together from such lovable old horror-movie schlock-fests as The Dunwich Horror (1969), Le Frisson des Vampires (1971), Lizard in a Woman’s Skin (1971), All the Colours of the Dark (1972), Baron Blood (1972), Dracula AD 1972 (1972) and The Satanic Rites of Dracula (1973). It captures the essence of Electric Wizard perfectly.

 

© Roadrunner

 

Gojira

Several bands have named themselves after Godzilla, Japan’s favourite, radioactive-breathed, city-destroying kaiju, including Godzilla in the Kitchen and Bongzilla.  In my opinion, the best of the bunch is the one using the giant reptile’s original Japanese moniker, Gojira.  This French death / progressive metal outfit combines shrieking vocals, wailing guitars and thunderous drums – courtesy of drummer Mario Duplantier, whose sound suggests the footfall of the giant lizard itself – with a surprising degree of melody.  Well, the melodiousness is perhaps not so surprising, giving that the bandmembers cite Led Zeppelin as a key influence.  The 2012 album L’Enfant Sauvage made me fall in love with Gojira, although their most recent one, Fortitude (2021), is pretty good too.

 

Melechesh

I first heard of the band Melechesh through the artist John Coulthart, whose blog I read regularly and who’s designed the covers for their albums, including 2015’s album Enki.  Soon afterwards, I saw Enki on sale in a record shop and bought it out of curiosity.  It’s a great album, its storming metallic sound embroidered with such eastern-Mediterranean and Middle Eastern instruments as the sitar, bouzouki, saz and bendir.  Melechesh, it transpires, are the propagators of ‘Mesopotamian metal’ which, according to their Wikipedia entry, aims to “create a type of black metal incorporating extensive Middle Eastern influences mainly based on Assyrian and occult themes.”  They formed in Jerusalem in 1993 but later relocated to Europe.  In the mid-1990s, the city authorities in Jerusalem accused them of ‘dark cult activities’, which probably didn’t encourage them to hang around in Israel.

 

© Nuclear Blast

 

Orchid

One afternoon I was in the FOPP record shop on Edinburgh’s Rose Street and the guy behind the counter decided to play a heavy metal album over the store’s PA system.  “What’s this?” I demanded, intoxicated by the album’s old-school sound – although as this was Rose Street, I may have been slightly intoxicated already. “It’s The Mouths of Madness,” he replied, “by Orchid!”  Then he produced another copy of the album, recorded in 2013, which I bought on the spot.  I would have remarked: “ORCHID – obviously stands for OZZY Osbourne / RAINBOW / the CULT / Rob HALFORD / IRON Maiden / Ronnie James DIO!”  But I wasn’t able to think that fast.

 

As I’ve suggested, San Francisco metallers Orchid wear their influences on their sleeves, but especially the influence of Black Sabbath.  Now while Black Sabbath, with their doomy sound and the occult preoccupations of their song-titles and lyrics, have been a huge influence on heavy metal generally, later bands have taken that sound and those preoccupations and made them more extreme and exaggerated. But Orchid are reminiscent of Black Sabbath as they were, in a purer, simpler form. I don’t mean that they copy the original band’s songs. Orchid sound like Black Sabbath in their early 1970s prime, if they ‘d existed in a parallel universe where they’d been able to churn out a few extra albums. Similar riffs, but not the same riffs.

 

© Sinister Figure

 

Reverend Bizarre

As far as I can tell, quaintly-named doom-metal outfit Reverend Bizarre are the only band on this list who no longer exist. They disbanded in 2007, having produced three albums during the noughties.  I own two of those, the excellent In the Rectory of the Reverend Bizarre (2002) and II: Crush the Insects (2005).  Sounding like  a sludgier, more primordial version of Electric Wizard, this Finnish band was notable for, among other things, its vocalist, the also quaintly-named Albert Witchfinder.  He eschewed modish doom-metal growling and shrieking and mainly just crooned forebodingly.

 

Wolves in the Throne Room

Their name may conjure up images of Game of Thrones, but Wolves in the Throne Room come from the relatively un-sword-and-sorcerous environs of Washington State in the northwestern USA.  One of their objectives (to quote Wikipedia again) is “channeling the ‘energies of the Pacific Northwest’s landscape’ into musical form.”  Thus, their song titles contain such words as ‘fields’, ‘fog’, ‘lightning’, ‘rain’, ‘rainbow’, ‘stars’, ‘storm’ and ‘woodland’ and their sound has been described as ‘atmospheric black metal’ or ‘ambient black metal’.  But there’s still enough ‘black metal’ present in Wolves in the Throne Room’s formula to prevent them sounding serene and bucolic.  I have three of their albums – 2006’s Diadem of 12 Stars, 2009’s Black Cascade and 2011’s Celestial Lineage – and think they’re all blisteringly brilliant.

 

Having finished writing this blog-entry, I now feel an urge to listen to the above nine bands’ albums again, at maximum volume.  I’ll probably be deaf afterwards, but at least then there’s no danger of me hearing the new Abba album.

 

© Southern Lord