When it comes to high-street discount stores handy for basic toiletries and the like, Studio 54 doesn’t immediately spring to mind. However, the notoriously stringent entrance policy of the exclusive New York nightclub of the Disco era – in which the only guaranteed name on the list would usually be that of Andy Warhol – came into my head this morning. I had no choice but to wait in line as a makeshift doorman at my local branch of Wilkos wouldn’t allow any shoppers in until another shopper had exited the store. The oddness of this particular shopping experience was compensated for via the purchase of my first pack of loo rolls in a fortnight; but it wasn’t unique to the expedition.
Sainsbury’s has also instigated a new queue policy whereby shoppers need to stand several feet apart – though when I recall some of the BO I’ve been forced to inhale in tight-knit shopping queues over the years, I can’t say I mind too much. That said, this system does invite unknowing queue-jumpers who see a wide gap and assume there’s no queue at all. We’re all adapting, I guess. It’s now cards-only at the manned tills too; cash-carrying peasants were redirected to the automated self-service machines. Having slipped into a routine whereby I venture outdoors every four days, I notice the changes more on each occasion I brave the pavement; the way things are going, I can’t help but feel it’s only a matter of time before supermarkets convert to a drive-through method ala McDonalds. Bit of a bugger for those of us without cars, mind.
I was out not long after 10.00am and had to pinch myself that it was Saturday morning, which is normally the busiest shopping day of the week. I must have passed no more than a dozen people, and even the traffic on what is usually something of a bottleneck was minimal to the point of invisibility. A main road generally impossible to cross without summoning assistance from the green and red men was today witness to the kind of casual pedestrian strolling unimaginable at times when society hasn’t been turned upside down. Even the post office – which we were informed would remain open – has closed its doors; and that was the main destination which prompted the excursion. One week and one day on from the moment most doors closed to the public, the public is being made very aware that the only place to go is home.
Part of me thinks I should carry my camera with me, to capture the refashioned urban environment while it lasts; but images of congested streets as they were before the lockdown increasingly look stranger than what is now the new norm. I’ve experienced numerous times in my life when my fellow man has consciously avoided me as though I were contagious, but this has suddenly become commonplace for everybody. On one hand, the sight of it could be mistaken for polite courtesy as two people on a collision course step aside in a manner that would demand the raising of hats were hats in place; yet everybody is now so hyper-aware of how apparently easy it is to become infected that a bizarre dance can be seen up and down supermarket aisles and on pavements. You can’t help it. Every individual you spy heading towards you is accompanied by a sonorous Central Office of Information narrator informing you that person could be infected; pass too close and you could be infected too. I wonder how long it’ll take before people stop being scared to come into contact with other humans again.
It’s certainly a weird experience being out after four days of being in, and my only real concern when it comes to this whole isolation & distancing thing is that I personally find it harder to re-engage with folk the longer I’m deprived of their presence. Have no doubt – I can cope with my own company; I’m more than accustomed to that. But reverting to social skills when they haven’t been used for a while is for me a bit like restarting inactive machinery that has been switched-off during an industrial dispute; it ain’t like riding a bike, trust me. Skyping is the next best thing, I guess; and I’ve done a fair bit of that over the past week or so. And it’ll have to suffice for the time being. At least it’s better than it must have been during the Spanish Flu pandemic of 1918; the best most could manage then was to send a few telegrams.
So, we’re left with our imaginary TV schedule whenever the printed page and the soundtrack have momentarily exhausted their appeal. If you don’t subscribe to streaming and all those other newfangled means of accessing escapist entertainment, there’s always the humble DVD. And what, you probably won’t be asking, has kept me entertained since Boris issued his command? Well, it may not be the most comforting of programmes to revisit, but it’s undoubtedly timely; I’m talking ‘Survivors’, Terry Nation’s dystopian BBC drama from the mid-70s. I might be a masochist, but I couldn’t resist coming to the series again with such an unexpected new perspective.
Just the opening titles struck me as remarkably prescient. Brilliantly summarising what the show is about by using that visual exposition characteristic of opening titles back then, we see a Chinese scientist in a surgical mask drop a test tube we instantly know contains a lethal chemical that then explodes in slow motion. Cut to repeated shots of planes zooming across the screen as we see said scientist collapse in a crowd whilst a sequence of passports are stamped with the names of the planet’s major capital cities. Okay, so within 30 seconds we learn some sort of biochemist from the Far East has accidentally released a new killer virus that is spread around the globe via air travel. And remember, this is 1975, not 2020. Yes, the programme’s 45-year vintage is evident as the rapid deterioration of society is portrayed with echoes of the Three-Day Week, fuel crises and fear of right-wing militias seizing control typical of the period; but the sudden collapse of the infrastructures keeping everything ticking over courtesy of a plague originating in China is hard to watch now without every recent news bulletin re-entering the viewer’s head.
In ‘Survivors’, a band of good guys eventually come together and form what is essentially a pre-industrial agricultural commune as a means of rebuilding the world for those who survived the plague. They do so whilst regularly fighting off less community-minded bad guys – and one thing that dates ‘Survivors’ is the fact that the bad guys are always working-class, as a counterpoint to the middle-class heroes. But that’s just a sign of the times in which it was produced, as is the absence of a patronising diversity quota amongst the cast; indeed, the main character whose progress we follow throughout the first series is female, and a tough, resourceful one at that. And Terry Nation created her without having an edict imposed upon his creativity from on-high.
Perhaps reflecting the broad brushstrokes of BBC drama in 1975, I’ve also recently been re-watching the first series of ‘Angels’. Maybe the incessant focus on the NHS at the moment prompted me to return to this prime-time serial about student nurses, one that is another well-written and well-acted example of the era. One only has to watch an episode of a mainstream series from 40-odd years ago and then do likewise with a contemporary equivalent to witness how low standards have sunk in all departments. The last time I saw an episode of ‘Casualty’ about five years ago, it was like revisiting every shit daytime Aussie soap you’ve ever seen. Not so ‘Department S’, which is gloriously far-fetched Swinging 60s ITC adventure at its finest – and it gave the world Jason King; what more do you want? That’s my other current vintage televisual aid. None of these were planned viewing; the situation demanded them, so I submitted. These are mine; feel free to enjoy your own.
© The Editor
I think most assumed his increasingly shagged-out demeanour was down to the stress of being Prime Minister during the kind of national emergency that only comes along once every half-century or so; but it would appear other factors had a part to play, as Boris Johnson – along with his Health Secretary Matt Hancock – has tested positive for the coronavirus and is now self-isolating at Downing Street. I suppose it’s no great surprise, however; his job is one that makes self-isolation a little harder than most, though Boris is probably finding out that modern technology is proving to be as useful a means of staying in touch as everyone else at the moment. Still, it must be frustrating to glance across at Rishi Sunak, whose infuriatingly immaculate appearance makes the Chancellor look like the ‘after’ portrait in one of those miracle diet ads you notice on the back of buses when stuck in traffic jams.
I, like most, watched one of those rare television events last night – the Prime Ministerial address to the nation. Back in the day, these direct announcements by the tenant of No.10 from his/her Downing Street bunker were regular affairs, transmitting simultaneously on all channels (along with bog-standard party political broadcasts): Wilson assuring the shopper that devaluing sterling wouldn’t affect ‘the pound in your pocket’; Heath inaugurating the Three-Day Week by asking householders to cut their consumption of electricity ‘to the absolute minimum’ in line with industry; Thatcher responding to the 1981 riots by falling back on the short-sharp-shock rhetoric that was tough on the crime without addressing the cause of it – these were tried-and-trusted means of speaking to the individual viewer at a time when grandstand performances at PMQs were restricted to those present in the Commons and (from 1978) listeners on Radio 4. Otherwise, Our Glorious Leader would only be seen walking in and out of their front door and offering the electorate a jolly wave.
I was watching a silverfish swim across a wall earlier today. No, things aren’t already so bad in social-distancing, self-isolating Britain that I’m reduced to observing obscure insects because there’s nothing else to do. The silverfish going about his business was exposed to the light due to a board that forms a small section of my living room wall being temporarily removed as part of a lengthy investigation into the dripping of leaks from my flat down into the flat below. It’s a long, boring story connected to a rotting roof, decaying gutters, broken pipes, and the routine papering over of cracks that accompanies the cost (and corner) cutting when residential properties are purchased by landlords and converted into separate dwellings. I’m not certain, but I’d hazard a guess my one-time grand Victorian home underwent that kind of conversion perhaps around thirty-forty years ago; and I reckon this was probably the first time decades of neglect had been examined up close.
With the cool kids loudly declaring on social media that they’ll be unwinding on a 24/7 diet of Netflix soup whilst sealed-in for the foreseeable future, the response of mainstream terrestrial television to the dramatic change in circumstances has served to underline its increasing irrelevance as a source of go-to entertainment. The abrupt cancellation of sporting fixtures that can ordinarily be depended upon to pump up the ratings has left them looking utterly clueless. When the Beeb had no ‘Match of the Day’ to broadcast last Saturday, did they think of the audience and perhaps replay a classic FA Cup Final from the archives, something that would still have featured 22 men kicking a ball about but would also have been imbued with the kind of nostalgia factor that surfaces when the future is suddenly so uncertain and the compulsion to cuddle the familiar figures highly? Of course not; they opted for a ‘Mrs Brown’s Boys’ double bill. Just what football fans were hoping for as they instantly changed channels.
No, it can’t have escaped your attention that broadcasters, broadsheets and tabloids are desperately clinging to the yardstick of the Second World War as the sole means of measuring the current ‘unprecedented’ crisis; today’s issue of the Sun featured Churchill as its page one boy, no less. Perhaps the climate that fosters the flourishing of such constant comparisons reflects a lack of personal reference points on the part of those falling back on the most bleedin’ obvious scenario; it also maybe helps that only those in their mid-80s (at the youngest) now have any clear first-hand memories of WWII, so there are few in a position of influence to contradict the narrative. Moreover, it could be further evidence of the so-called ‘metropolitan’ perspective of those running the media that great swathes of the country’s population experienced disruption on a similar scale less than 20 years ago – only, they happened to mostly be ‘country folk’.
Last year it was the B word; this year it’s the C word; but maybe it should be the A word – A as in A for Arseholes; the Arseholes in question would be those whose pantries or garages or sheds are crammed with more toilet rolls than yer average Andrex warehouse. For the first time so far during WWIII, I was today confronted by the empty shelf when seeking to purchase my usual four-pack of botty hankies. Cheers for that, whoever thought it wise to exceed the purchase of a humble four-pack. I’m sure the manufacturers are producing more than enough to go round, but people are naturally purchasing stocks for their fallout shelters because they’re gullible gits feasting on a 24/7 diet of sensationalistic scaremongering on the part of irresponsible broadcasters and online news agencies.
By sheer bloody coincidence, the profession that leaves me self-isolating even when the rest of the world is enjoying a pandemic-free lifestyle has inadvertently mirrored a highly relevant contemporary scenario with the publication of my latest book. A collection of six short stories in a ‘Tales of the Unexpected’ vein, ‘Solitaire’ is half-a-dozen variations on a theme, the theme being confinement of both an internal and external nature. Each story is self-contained and shares no characters or locations with any other; but what they do share is this very issue – people stricken by loneliness and isolation when alone and when in company, all seeking escape and then finding something they weren’t looking for. Yes, I know any recommendation on my part will lead to you paraphrasing the late, great Mandy Rice-Davies – ‘well, he would say that, wouldn’t he’ – but if you like storytelling with a creepy, unnerving undercurrent,
When the 48th season of the Football League kicked-off on Saturday 26 August 1939, Everton were the defending league champions and Portsmouth the FA Cup holders. By the time the season ended, Blackpool were top of the league, though the FA Cup had yet to begin because 1939/40 was prematurely curtailed after all First Division teams had played a mere three fixtures each. The outbreak of the Second World War on 3 September placed the national game in official suspended animation, from which it didn’t emerge until the inaugural post-war FA Cup tournament almost seven years later. Along with all avenues of entertainment that involved mass gatherings, football was an immediate casualty of the instant wartime lockdown; however, as it rapidly dawned on the government that the people needed their distractions, cinemas, theatres, restaurants and dancehalls soon opened their doors again. Football stadiums followed suit, though under somewhat surreal conditions.
Self-isolation? They only had to ask and I would’ve gladly provided the expertise; but maybe the Gove suspicion of experts lingers. Last year – or was it the year before? – I went a full week without speaking to another soul in person; and I didn’t even have the flu. It’s a talent of sorts, and one that makes doing what I do that much easier. But it’s been there a long time. The fear that closed schools will naturally entail stay-at-home parents minding the little ones means fewer employees available for the potential coronavirus battlegrounds. How much easier it was for my own parents when my school shut its gates for the actual holidays. They worked; I stayed at home – alone; a younger sibling had to accompany my mother to her workplace, but one of the few advantages of my seniority came into play and I was entrusted with the responsibility of being daytime housekeeper aged ten.
Post-war social touchstones – true, not a phrase that can be easily tossed into a conversation; but they pepper works of fiction set in the recent past, acting as authentic anchors around which dramas unfold. Whenever a TV series is set in 1970s Britain, for example, chances are the characters will react to the Three Day Week or the Drought Summer or the Silver Jubilee or the Winter of Discontent. We’ve all seen ‘em. When these key events are used as a backdrop, they root the fictional elements in a recognisable reality that makes the story more believable; they also provide viewers who lived through them with instant personal associations and those who didn’t with an education. If the UK is destined to shortly parallel the unique lockdown Italy is currently experiencing, we may well be on the eve of a post-war social touchstone that will be recycled by future dramatists for decades to come.