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This programme contains some strong language | 0:00:02 | 0:00:10 | |
APPLAUSE AND CHEERING | 0:00:15 | 0:00:16 | |
Hello everybody! | 0:00:16 | 0:00:18 | |
Hello! | 0:00:18 | 0:00:20 | |
Here we are | 0:00:20 | 0:00:23 | |
at the Edinburgh Festival, where you are never more | 0:00:23 | 0:00:26 | |
than 16 feet from a drama student in period costume. | 0:00:26 | 0:00:30 | |
We have a whole selection of comedians tonight. | 0:00:30 | 0:00:33 | |
These are the BBC4 type comedians, | 0:00:33 | 0:00:36 | |
they're not only funny, they're also brilliant, interesting, | 0:00:36 | 0:00:40 | |
and they will instruct you on the nature of the world as well. | 0:00:40 | 0:00:43 | |
I, myself, am the old fart who will be linking them together. | 0:00:43 | 0:00:46 | |
I am delighted to see this lot. | 0:00:48 | 0:00:49 | |
They're going to be acting as the house band as well. | 0:00:49 | 0:00:52 | |
Their lead singer, an eponymous hero, | 0:00:52 | 0:00:56 | |
is a comedian and birdwatcher in his own right, | 0:00:56 | 0:00:59 | |
but he's gathered together a group of brilliant musicians, | 0:00:59 | 0:01:02 | |
who come together tonight, in the form, here they are, | 0:01:02 | 0:01:05 | |
of the Horne Section. | 0:01:05 | 0:01:07 | |
APPLAUSE AND CHEERING | 0:01:07 | 0:01:10 | |
Thank you very much. | 0:01:13 | 0:01:15 | |
Hello, hello, hello. | 0:01:15 | 0:01:19 | |
There's a lot of them. Hi. | 0:01:19 | 0:01:22 | |
How is everyone? | 0:01:22 | 0:01:23 | |
CHEERING | 0:01:23 | 0:01:24 | |
Good. How are you? All fine? That's good for me. | 0:01:24 | 0:01:28 | |
I'm Alex Horne, this is my section. We've all got a section. | 0:01:28 | 0:01:31 | |
This is my one. | 0:01:31 | 0:01:32 | |
I thought I'd introduce them to you, | 0:01:32 | 0:01:34 | |
by creating a sort of theme tune. | 0:01:34 | 0:01:37 | |
We'll create a theme tune to our bit using audience suggestions, | 0:01:37 | 0:01:40 | |
if that's all right, | 0:01:40 | 0:01:41 | |
so please welcome, on drums, Mr Ben Reynolds. | 0:01:41 | 0:01:44 | |
See if you can clap. Why not? | 0:01:44 | 0:01:46 | |
APPLAUSE | 0:01:46 | 0:01:47 | |
Very handsome. | 0:01:47 | 0:01:49 | |
Completely hairless from the neck down. | 0:01:49 | 0:01:52 | |
What rhythm would you like him to play, any rhythm at all? | 0:01:52 | 0:01:55 | |
-AUDIENCE: -Jazz. | 0:01:55 | 0:01:57 | |
Can you play jazz rhythm? I don't know if there is one. | 0:01:57 | 0:01:59 | |
HE PLAYS | 0:01:59 | 0:02:01 | |
Well, that's sort of his natural state. | 0:02:01 | 0:02:04 | |
I think you're the one person enjoying this. I don't mind it. | 0:02:04 | 0:02:07 | |
I don't like jazz. | 0:02:07 | 0:02:09 | |
Can you do a different facial expression? | 0:02:10 | 0:02:14 | |
Different facial expression, slightly. Better! | 0:02:14 | 0:02:16 | |
LAUGHTER | 0:02:16 | 0:02:18 | |
Everyone happy with this? Really? Fine. | 0:02:18 | 0:02:20 | |
On bass, Mr Will Collier. There he is! | 0:02:20 | 0:02:23 | |
Very slender. He's a vegetarian. He's a vegetarian. | 0:02:26 | 0:02:30 | |
What key would you like the bassist to play in, any key at all? | 0:02:30 | 0:02:33 | |
E or B? | 0:02:33 | 0:02:36 | |
B flat minor. | 0:02:36 | 0:02:37 | |
OK, B flat minor, please. | 0:02:37 | 0:02:39 | |
None of us have any idea if this is B flat minor or not. | 0:02:40 | 0:02:45 | |
Let's assume it is. What you were hoping for? | 0:02:45 | 0:02:47 | |
It sounds quite flat, minor and B. It'll do. | 0:02:47 | 0:02:50 | |
Good work. You happy? | 0:02:50 | 0:02:54 | |
On keys, Mr Joe Stilgoe, on the piano. | 0:02:54 | 0:02:57 | |
And he's just going to | 0:02:59 | 0:03:01 | |
add some music on top. | 0:03:01 | 0:03:04 | |
Is this music? I never know. | 0:03:04 | 0:03:06 | |
He's going to make it better music and add a tune. | 0:03:06 | 0:03:09 | |
Shout out a tune, ideally a BBC tune. | 0:03:09 | 0:03:12 | |
-AUDIENCE: -Ivor The Engine | 0:03:12 | 0:03:14 | |
Ivor The Engine and Blue Peter. | 0:03:14 | 0:03:16 | |
LAUGHTER | 0:03:16 | 0:03:18 | |
He can do any tune except Ivor The Engine. It's his Achilles. | 0:03:18 | 0:03:21 | |
Blue Peter? | 0:03:21 | 0:03:23 | |
HE PLAYS THE BLUE PETER THEME TUNE | 0:03:23 | 0:03:26 | |
Look at them! | 0:03:26 | 0:03:29 | |
It's all right. Let's go for one other tune. | 0:03:32 | 0:03:35 | |
Jim'll Fix It, quite right, yes. | 0:03:35 | 0:03:38 | |
HE PLAYS THE JIM'LL FIX IT THEME TUNE | 0:03:38 | 0:03:41 | |
It's good. Let's introduce Mark Brown on top of this. | 0:03:41 | 0:03:45 | |
Bit of '80s saxophone. | 0:03:45 | 0:03:46 | |
Lovely! | 0:03:47 | 0:03:49 | |
Maybe keep your legs still. Keep your legs still. | 0:03:51 | 0:03:53 | |
Lean back, | 0:03:53 | 0:03:56 | |
just look a bit happier. That's it. | 0:03:56 | 0:03:59 | |
Mr Joe Auckland on trumpet, to play all over it. | 0:03:59 | 0:04:01 | |
Lovely. | 0:04:03 | 0:04:06 | |
Good. | 0:04:06 | 0:04:08 | |
Go a bit redder, | 0:04:08 | 0:04:10 | |
a bit louder, don't breathe, | 0:04:10 | 0:04:13 | |
louder, | 0:04:13 | 0:04:15 | |
you play as well, | 0:04:15 | 0:04:17 | |
good... | 0:04:17 | 0:04:18 | |
and then stop. | 0:04:18 | 0:04:20 | |
There we go! | 0:04:20 | 0:04:22 | |
CHEERING AND APPLAUSE | 0:04:22 | 0:04:25 | |
Very good. Very good band! Well done! | 0:04:25 | 0:04:28 | |
Grade 4 this summer, the trumpet. Grade 4. | 0:04:29 | 0:04:33 | |
Theory, theory. | 0:04:33 | 0:04:35 | |
They're going to stay on throughout this | 0:04:35 | 0:04:37 | |
and either ruin it or enhance it. We'll see. | 0:04:37 | 0:04:40 | |
I think, Will, I'm going to talk to you lastly, before we go. | 0:04:40 | 0:04:43 | |
Will has got a massive instrument and all the notes, | 0:04:43 | 0:04:46 | |
all the notes. | 0:04:46 | 0:04:47 | |
Have you ever heard a C before, madam? Do want to hear a C? | 0:04:47 | 0:04:52 | |
Listen to it. C's all right. | 0:04:52 | 0:04:54 | |
All right, isn't it? Not as good as the A, by far my favourite. | 0:04:55 | 0:05:00 | |
I call him up in the morning to do an A down the phone. Do an A. Wow! | 0:05:00 | 0:05:03 | |
Compare that to the B. B is nothing. The B is awful. Do a B. | 0:05:03 | 0:05:06 | |
Horrible. Do another B. | 0:05:08 | 0:05:10 | |
Yuck! Do the A again. | 0:05:10 | 0:05:12 | |
He plays. Wow! | 0:05:12 | 0:05:13 | |
LAUGHTER | 0:05:13 | 0:05:15 | |
G, I can't make my mind up about the G. G's sort of... | 0:05:15 | 0:05:18 | |
Oooommm! | 0:05:18 | 0:05:20 | |
Exactly. And the E. Have you heard an E? Do the E. | 0:05:22 | 0:05:25 | |
There we go. | 0:05:25 | 0:05:27 | |
That spells cabbage. That's what it sounds like. | 0:05:27 | 0:05:29 | |
You're eating cabbage, thinking, | 0:05:29 | 0:05:31 | |
"Fine, but what does it sound like?" That's what. Play it again. | 0:05:31 | 0:05:35 | |
# C-A-B-B-A-G-E | 0:05:35 | 0:05:39 | |
# C-A-B-B-A-G-E Sounds better than you think! | 0:05:39 | 0:05:43 | |
# C-A-B-B-A-G-E | 0:05:43 | 0:05:46 | |
Where are we eating it? In the cafe. Listen to the cafe. | 0:05:46 | 0:05:50 | |
# C-A-F-E | 0:05:50 | 0:05:52 | |
The cabbage cafe. | 0:05:52 | 0:05:54 | |
# C-A-F-E | 0:05:54 | 0:05:56 | |
Two more cabbages, please. | 0:05:56 | 0:05:58 | |
# C-A-B-B-A-G-E | 0:05:58 | 0:06:01 | |
I'm getting thirsty. Give me a coffee. A decaf. | 0:06:01 | 0:06:05 | |
# D-E-C-A-F | 0:06:05 | 0:06:07 | |
Pretty good! | 0:06:07 | 0:06:09 | |
# D-E-C-A-F | 0:06:09 | 0:06:10 | |
A decaf coffee. One more cabbage. | 0:06:10 | 0:06:13 | |
# C-A-B-B-A-G-E | 0:06:13 | 0:06:14 | |
Another cabbage. | 0:06:14 | 0:06:15 | |
# C-A-B-B-A-G-E | 0:06:15 | 0:06:17 | |
I need some meat. Give me some beef. A bit of beef. | 0:06:17 | 0:06:20 | |
# B-E-E-F | 0:06:20 | 0:06:24 | |
# B-E-E-F | 0:06:24 | 0:06:26 | |
You got anything else? | 0:06:26 | 0:06:27 | |
# E-G-G. # | 0:06:27 | 0:06:29 | |
Egg, not bad. | 0:06:29 | 0:06:31 | |
LAUGHTER | 0:06:31 | 0:06:32 | |
Finish off with a bit of beetroot. | 0:06:32 | 0:06:34 | |
B-E-E-troot. You can't do them all. | 0:06:34 | 0:06:38 | |
We'll crack on now. | 0:06:40 | 0:06:41 | |
I am delighted to welcome to the stage, | 0:06:41 | 0:06:44 | |
a member of the Royal Shakespeare Company... | 0:06:44 | 0:06:47 | |
mailing list. | 0:06:47 | 0:06:49 | |
She was a member of the Royal Shakespeare Company went I met her | 0:06:49 | 0:06:52 | |
and jacked it in to do a proper job, which is to be a ventriloquist. | 0:06:52 | 0:06:56 | |
It's Nina Conti! | 0:06:56 | 0:06:58 | |
Hello! | 0:06:58 | 0:07:00 | |
Thank you. | 0:07:01 | 0:07:03 | |
Hello! Hi! Thank you. How lovely. | 0:07:03 | 0:07:07 | |
Yes, I am a ventriloquist and I try to say that without shame. | 0:07:07 | 0:07:11 | |
I love it. I'll just cut the crap and get the monkey out. | 0:07:11 | 0:07:14 | |
LAUGHTER | 0:07:14 | 0:07:15 | |
Come on out. One, two, three...hup! | 0:07:15 | 0:07:18 | |
Hello, hello. | 0:07:18 | 0:07:20 | |
Edinburgh, thank you. | 0:07:20 | 0:07:22 | |
APPLAUSE | 0:07:22 | 0:07:23 | |
-There's no going back. -No. | 0:07:23 | 0:07:24 | |
So, monkey, why did the monkey cross the road? | 0:07:24 | 0:07:27 | |
Because he saw you standing behind him, rolling up your sleeve, Nina. | 0:07:27 | 0:07:33 | |
Oh, God! | 0:07:33 | 0:07:34 | |
-Is that BBC4 enough for you? -I don't know. | 0:07:34 | 0:07:38 | |
LAUGHTER | 0:07:38 | 0:07:39 | |
We got lots to look forward to tonight. | 0:07:39 | 0:07:41 | |
-I'm going to hit Lothian Road later. -Are you? | 0:07:41 | 0:07:45 | |
Going to get me some sweet Edinburgh ass. | 0:07:45 | 0:07:48 | |
Excuse me, you're a monkey. | 0:07:48 | 0:07:51 | |
They're not fussy, Nina. | 0:07:51 | 0:07:53 | |
-What's that stuck to your face? -My microphone. | 0:07:53 | 0:07:58 | |
-All right. That's fancy. Where's mine? -You haven't got one. | 0:07:58 | 0:08:01 | |
That ruins the illusion. | 0:08:01 | 0:08:03 | |
LAUGHTER | 0:08:03 | 0:08:06 | |
-You can talk into mine. -Testing, one, two, three. | 0:08:06 | 0:08:09 | |
Testing, one, two, three. | 0:08:09 | 0:08:12 | |
Makes no bloody difference. | 0:08:12 | 0:08:15 | |
Can you not deconstruct the act so early on? | 0:08:15 | 0:08:19 | |
Do you reckon they think you're talking to a real monkey? | 0:08:19 | 0:08:22 | |
This isn't Glasgow, Nina. | 0:08:22 | 0:08:24 | |
LAUGHTER | 0:08:24 | 0:08:25 | |
-Cheap. -Appealing to the hate in their hearts. | 0:08:25 | 0:08:28 | |
Tonight I want to talk to some actual human beings. | 0:08:28 | 0:08:31 | |
Hello, Missy, how do you do? What do you do with your life? | 0:08:31 | 0:08:34 | |
-AUDIENCE: Just graduated. -She just graduated. | 0:08:34 | 0:08:37 | |
And she says it with such hope in her heart. | 0:08:37 | 0:08:39 | |
LAUGHTER | 0:08:39 | 0:08:41 | |
You look like the whole thing is over already. | 0:08:41 | 0:08:43 | |
What did you study? Was it a total misnomer? | 0:08:43 | 0:08:47 | |
-AUDIENCE: -Master of Theology. -Master of Theology. | 0:08:47 | 0:08:50 | |
Oh, hence the pessimism. | 0:08:50 | 0:08:51 | |
-What are you going to do with that? -And your imaginary friends? | 0:08:54 | 0:08:58 | |
Cute, monkey. You study religions, | 0:08:58 | 0:09:01 | |
but you're not necessarily religious? | 0:09:01 | 0:09:03 | |
No, she's not religious. I can tell. | 0:09:03 | 0:09:07 | |
-Why? -Never mind. | 0:09:07 | 0:09:10 | |
I don't know where you were going with that. | 0:09:10 | 0:09:12 | |
You couldn't finish my sentence. | 0:09:12 | 0:09:14 | |
When you laugh, I can't finish my sentences, Nina. | 0:09:16 | 0:09:19 | |
-This multitasking... -You're deconstructing it now! | 0:09:19 | 0:09:23 | |
-Is that your mother? -Is that your mother? | 0:09:23 | 0:09:26 | |
Who are you here with? | 0:09:26 | 0:09:28 | |
-AUDIENCE: Myself. -Yourself. | 0:09:28 | 0:09:30 | |
-You should have studied something else, bitch. -Monkey! | 0:09:30 | 0:09:35 | |
I'm going to leave you to humiliate someone else. | 0:09:35 | 0:09:38 | |
-Do you want to just say good night then? -Yes. Who's next? | 0:09:38 | 0:09:41 | |
-Next is going to be someone in the audience. -Good luck. | 0:09:41 | 0:09:45 | |
-This will be dire. -It won't. The last audience really enjoyed it. | 0:09:45 | 0:09:48 | |
For the first hour, they did. | 0:09:48 | 0:09:50 | |
And then they all left, except one lady, who stayed. | 0:09:50 | 0:09:54 | |
Cos she was dead! | 0:09:54 | 0:09:56 | |
-Say good night. -Good night. | 0:09:56 | 0:09:57 | |
That was the monkey. Thank you. | 0:09:57 | 0:09:59 | |
-APPLAUSE -Can I borrow you? What's your name? -Sharmani. -Sharmani. | 0:09:59 | 0:10:03 | |
Give it up for Sharmani, the theology student. | 0:10:03 | 0:10:05 | |
Could you come up here? That would be fabulous. | 0:10:05 | 0:10:08 | |
-APPLAUSE -Thank you. So, Sharmani, that's a lovely name. | 0:10:08 | 0:10:13 | |
I'm just going to put a little makeover on you. | 0:10:13 | 0:10:16 | |
Oh, you are so nice to come up because I never would. | 0:10:16 | 0:10:19 | |
I'm just going to put that on your face. Are you all right? | 0:10:19 | 0:10:24 | |
Yeah, loving it. | 0:10:24 | 0:10:26 | |
Ha-ha-ha-ha-ha! | 0:10:26 | 0:10:28 | |
-Are you all right? -Yeah, this is hilarious, I am loving it. -OK, good. | 0:10:28 | 0:10:32 | |
-Oh, God, theology. Oh, what a life choice. -Yes. | 0:10:32 | 0:10:37 | |
Oh, God. Yes. Isn't it terrible? | 0:10:37 | 0:10:40 | |
-I'd rather be on the game. -Oh, come on. | 0:10:40 | 0:10:43 | |
I think I'd rather be a ventriloquist. | 0:10:43 | 0:10:46 | |
I'm disappointed, I thought you were going to put your hand up my skirt. | 0:10:46 | 0:10:51 | |
-Ha-ha-ha-ha! -No, I'm not. | 0:10:51 | 0:10:53 | |
-Oh, isn't this fun! -So, yes, it's lovely. | 0:10:53 | 0:10:57 | |
-Yes, I'm so glad you got me up here. -Why is that? | 0:10:57 | 0:11:00 | |
Because I'm going to actually do something | 0:11:00 | 0:11:03 | |
I've always wanted to do to. | 0:11:03 | 0:11:04 | |
All the time I was studying theology, I just wanted to dance. | 0:11:04 | 0:11:09 | |
Yes, I did. | 0:11:10 | 0:11:12 | |
And I'm glad I've got these shoes on because I'm nifty in them. | 0:11:13 | 0:11:17 | |
-You don't have to dance. -No, I really want to. | 0:11:18 | 0:11:21 | |
-I'm so sorry. -Don't be sorry, I'm loving it. | 0:11:22 | 0:11:25 | |
It's the best fun I have had in years. | 0:11:28 | 0:11:30 | |
Oh, the Catholics and the Christians and the Muslims, oh, God, | 0:11:30 | 0:11:34 | |
sod 'em all! | 0:11:34 | 0:11:35 | |
-Oh, God, I hate it. I like the devil. -OK. | 0:11:35 | 0:11:40 | |
I'm going to dance the devil's dance. | 0:11:40 | 0:11:42 | |
-You don't have to. -Yes, I will. | 0:11:42 | 0:11:44 | |
-You've got a funny voice. -Yes, thank you for that. | 0:11:44 | 0:11:47 | |
-OK, you can have music if you want to dance. -Yes, hit the music. -OK. | 0:11:47 | 0:11:53 | |
JAZZY MUSIC PLAYS | 0:11:53 | 0:11:54 | |
-Oh, yeah. Oh, yeah, check it out, check it out! -That's lovely! | 0:11:54 | 0:11:57 | |
-Thank you very much! -That was awesome. | 0:11:57 | 0:12:02 | |
Sharmani! Thank you, Sharmani! | 0:12:02 | 0:12:04 | |
APPLAUSE AND CHEERING | 0:12:04 | 0:12:07 | |
Thank you, and I was Nina. Good night! | 0:12:07 | 0:12:09 | |
Now, our next act won the big comedy award a couple of years ago. | 0:12:17 | 0:12:20 | |
I, myself, am an award-winning comedian, | 0:12:20 | 0:12:22 | |
although the award was for swimming. | 0:12:22 | 0:12:25 | |
If this place floods, it's not a comedian you want, it's a lifeguard. | 0:12:25 | 0:12:29 | |
Will you please welcome onto the stage, here he is, the poet, Tim Key?! | 0:12:29 | 0:12:33 | |
Hi. | 0:12:42 | 0:12:44 | |
"I went out with a model | 0:13:03 | 0:13:05 | |
"But I found her dull | 0:13:08 | 0:13:10 | |
"And also she was one of those fatty models | 0:13:12 | 0:13:15 | |
"and not much to look at." | 0:13:15 | 0:13:16 | |
I do sort of poems. | 0:13:17 | 0:13:19 | |
Some of them are autobiographical. | 0:13:21 | 0:13:23 | |
This next one is semiautobiographical, | 0:13:23 | 0:13:27 | |
by which, I mean I wrote it but I'm not in it. | 0:13:27 | 0:13:32 | |
PIANO PLAYS SOFTLY | 0:13:32 | 0:13:33 | |
Very nice. This is quite short. | 0:13:33 | 0:13:36 | |
If you could play something short. PIANIST PLAYS ONE CHORD | 0:13:36 | 0:13:39 | |
A bit longer. A bit longer. | 0:13:39 | 0:13:40 | |
HE PLAYS SOFT MUSIC "Tanya googled herself | 0:13:40 | 0:13:44 | |
"Still nothing." | 0:13:46 | 0:13:47 | |
It's quite a sad one. | 0:13:47 | 0:13:49 | |
Good. Good length. Very nice length. | 0:13:51 | 0:13:55 | |
It was a good fit. I did that one and my dad was in the audience. | 0:13:55 | 0:13:59 | |
You may as well play some double bass under this. Oh, lovely. | 0:13:59 | 0:14:02 | |
My dad was in the audience, he didn't understand it. | 0:14:02 | 0:14:05 | |
He didn't know what googling yourself was. | 0:14:05 | 0:14:08 | |
"Different generation," I said. "What do you think it might be? | 0:14:09 | 0:14:14 | |
"Come on, old friend. | 0:14:14 | 0:14:16 | |
"Come on, you beast, what do you think it could be? Googling yourself." | 0:14:16 | 0:14:21 | |
He said, "I don't know." I said, "Hazard a guess, you muppet, come on." | 0:14:21 | 0:14:25 | |
He said, "Is it like... | 0:14:25 | 0:14:28 | |
"Is it like mooning but with the front?" | 0:14:28 | 0:14:31 | |
He doesn't get it, does he? He doesn't get it in that example. | 0:14:32 | 0:14:37 | |
Lovely. Don't mind it. This next one is a bit old-fashioned. | 0:14:37 | 0:14:41 | |
If you could play something quite old-fashioned. | 0:14:41 | 0:14:44 | |
PLAYS JAUNTY TUNE | 0:14:44 | 0:14:48 | |
Lovely. | 0:14:48 | 0:14:50 | |
In terms of my own influences, it's really largely Shakespeare. Love him. | 0:14:50 | 0:14:55 | |
Himself also very old-fashioned. | 0:14:55 | 0:14:57 | |
But, er... | 0:14:57 | 0:14:59 | |
He had no real control over that. | 0:14:59 | 0:15:02 | |
I love him, though, so florid. Beautiful writer. | 0:15:05 | 0:15:08 | |
At his best, I think, almost Dickensian. | 0:15:08 | 0:15:12 | |
Almost Dickensian. | 0:15:12 | 0:15:14 | |
"Jon, no H, bowed deeply to the girl." | 0:15:16 | 0:15:21 | |
Lovely that, another era. | 0:15:21 | 0:15:24 | |
"She in turn curtseyed. | 0:15:25 | 0:15:27 | |
"Jon bowed deeply again, concentrating hard on his technique | 0:15:28 | 0:15:34 | |
"The girl blew him a kiss as she curtseyed | 0:15:34 | 0:15:37 | |
"In response to Jon's bowing | 0:15:37 | 0:15:39 | |
"Jon caught the kiss | 0:15:41 | 0:15:43 | |
"And made as if to shove it down his underpants." | 0:15:43 | 0:15:46 | |
Oh, Jon. Same old Jon! | 0:15:47 | 0:15:50 | |
What will we do with Jon? | 0:15:50 | 0:15:53 | |
"Appalled, the girl jumped backwards into the road and was crushed." | 0:15:55 | 0:16:01 | |
I went to Egypt to... | 0:16:01 | 0:16:04 | |
Each of my poems takes between six and eight months to write | 0:16:04 | 0:16:07 | |
and I went to Egypt to, er... | 0:16:07 | 0:16:09 | |
Sometimes an idea comes into your head and you think | 0:16:09 | 0:16:12 | |
I need to flesh that out and I went to Egypt for, er, | 0:16:12 | 0:16:14 | |
I was there for about four months. | 0:16:14 | 0:16:16 | |
Do you want to play something Egyptian? | 0:16:16 | 0:16:19 | |
Less racist if poss. | 0:16:19 | 0:16:21 | |
Ah, nice. | 0:16:22 | 0:16:24 | |
Yeah. Oh, lovely, | 0:16:24 | 0:16:25 | |
I feel like I'm back there. | 0:16:25 | 0:16:28 | |
I wound up on a beach in the south, just leaning against a, er... | 0:16:31 | 0:16:38 | |
another poet. | 0:16:38 | 0:16:40 | |
I wrote this one, it's a summary of some of my experiences in Egypt. | 0:16:43 | 0:16:50 | |
"Bedecked in white shawls | 0:16:50 | 0:16:53 | |
"A local tailor floated across the hot sand on his camel | 0:16:53 | 0:16:58 | |
"Nearby a handsome Englishman | 0:17:00 | 0:17:03 | |
"Fingered an Egyptian girl against a pyramid." | 0:17:03 | 0:17:08 | |
OK, this is, can you play...? Can you go bop, bop, bop-bop, bop, bop? | 0:17:13 | 0:17:18 | |
HE PLAYS THE REFRAIN | 0:17:18 | 0:17:22 | |
And then if you go... | 0:17:22 | 0:17:24 | |
bum, bum, bum-bum-bum, bum. You, you. | 0:17:24 | 0:17:30 | |
Bum, bum, bum-bum-bum bum. | 0:17:30 | 0:17:33 | |
Now that sort of fits, yes. | 0:17:33 | 0:17:35 | |
And then you, bop, bop, bop, bop. | 0:17:36 | 0:17:38 | |
THEY PLAY | 0:17:38 | 0:17:42 | |
Nice. | 0:17:42 | 0:17:44 | |
Can you do something? Can you play? | 0:17:44 | 0:17:46 | |
PLAYS HIGH PIANO KEYS | 0:17:49 | 0:17:52 | |
That's it, nice. Bit of composing. | 0:17:52 | 0:17:56 | |
It's not that hard. It's just having the courage. | 0:17:56 | 0:17:59 | |
# Ba-ba, ba-da-ba-ba | 0:17:59 | 0:18:01 | |
# Ba-ba, ba-ba-ba-ba. # | 0:18:01 | 0:18:03 | |
-Do you want to put some vocals on? -Here we are. | 0:18:03 | 0:18:07 | |
-Here we are. -Oh, yes. | 0:18:07 | 0:18:10 | |
Here we are. | 0:18:10 | 0:18:12 | |
Here we are. | 0:18:12 | 0:18:14 | |
-Here we are. -Lovely. Thank you. | 0:18:14 | 0:18:17 | |
Here we go. We'll lose the music for a second, that's horrible. | 0:18:17 | 0:18:20 | |
"Some of the other cubs convinced Kenneth there was a badge for arson." | 0:18:20 | 0:18:25 | |
-OK. "Jane had an egg..." -Oh, no. | 0:18:27 | 0:18:31 | |
Sorry, carry on, I didn't mean to say anything. | 0:18:34 | 0:18:37 | |
I don't like egg, I don't like egg. I shouldn't have said anything. | 0:18:37 | 0:18:40 | |
I don't like egg. Carry on. | 0:18:40 | 0:18:42 | |
Sorry, sorry. | 0:18:42 | 0:18:43 | |
OK. "Jane had an egg." | 0:18:45 | 0:18:47 | |
I don't... | 0:18:47 | 0:18:49 | |
-What? -You know I don't like egg. | 0:18:49 | 0:18:51 | |
That's OK, I'm just doing a poem about egg. | 0:18:51 | 0:18:53 | |
I know but I really don't like egg. | 0:18:53 | 0:18:56 | |
Yeah, but I can still do a... Fine. OK. | 0:18:56 | 0:18:58 | |
-I'd seriously rather you didn't. -Sorry? | 0:18:58 | 0:19:01 | |
I'm not going to get an egg out, I'm just doing a poem about an egg. | 0:19:01 | 0:19:05 | |
-What? -I've got strong feelings, I've never had an egg, | 0:19:08 | 0:19:11 | |
-I don't like them. -You have had an egg. | 0:19:11 | 0:19:12 | |
-I've never had an egg. -Of course you've had an egg. | 0:19:12 | 0:19:15 | |
There's no "of course", I've never had an egg. | 0:19:15 | 0:19:18 | |
-You've had an egg. -I avoid them. -You'd have had an omelette. | 0:19:18 | 0:19:20 | |
I haven't. I know they're made of eggs | 0:19:20 | 0:19:22 | |
so I'd chose something different, maybe ham. | 0:19:22 | 0:19:25 | |
-What? Like a what? -Ham or something that isn't egg. | 0:19:25 | 0:19:27 | |
Fine, but you'd have had egg in something. | 0:19:27 | 0:19:30 | |
-I wouldn't, I'd just chose something else. -You'd have had a cake. | 0:19:30 | 0:19:34 | |
Of course I've had a cake, but I've not had egg cake I'd have a chocolate cake. | 0:19:34 | 0:19:37 | |
-It would be in the mixture, they mix it in. -Yeah, of course(!) | 0:19:37 | 0:19:40 | |
"Lovely cake, oh, there's an egg in it!" | 0:19:40 | 0:19:42 | |
-It would be like a chocolate cake. -I've had chocolate cake. | 0:19:42 | 0:19:45 | |
Well, that would have had egg in it. | 0:19:45 | 0:19:47 | |
-Mm, nice bit of chopped egg(!) -No, they mix it up. | 0:19:47 | 0:19:50 | |
They secretly put egg in it? | 0:19:50 | 0:19:51 | |
Rachel would put egg into something... | 0:19:51 | 0:19:53 | |
-Don't bring Rachel into it. -OK, fine. | 0:19:53 | 0:19:55 | |
-You'd have had... Have you had a boiled egg? -Say that again? | 0:19:55 | 0:19:58 | |
-Have you had a boiled egg? -Yes. -Right, well, that's egg. -Is it? -Yes. | 0:19:58 | 0:20:02 | |
Sorry, mate, I had two for lunch, lovely. | 0:20:03 | 0:20:06 | |
I'm going to finish with this one. | 0:20:09 | 0:20:12 | |
This is quite... I guess this is quite harrowing so... | 0:20:12 | 0:20:18 | |
MOURNFUL SAX PLAYS | 0:20:20 | 0:20:23 | |
"Let's get a joint account | 0:20:25 | 0:20:29 | |
"But she had absolutely no money..." | 0:20:31 | 0:20:35 | |
Guys? | 0:20:36 | 0:20:37 | |
"I bit her lip | 0:20:39 | 0:20:41 | |
"And drew blood | 0:20:44 | 0:20:46 | |
VERY MOURNFUL SAX PLAYS | 0:20:46 | 0:20:48 | |
"And immediately we were arguing about that | 0:20:52 | 0:20:55 | |
"And not about all this joint account bullshit." | 0:20:55 | 0:20:58 | |
That's all my poems, thank you very much. Enjoy the rest of the show. | 0:20:58 | 0:21:02 | |
CHEERING AND APPLAUSE | 0:21:02 | 0:21:04 | |
And now I'm delighted to introduce to the stage | 0:21:06 | 0:21:10 | |
an extremely funny man, he is Hannibal Buress. | 0:21:10 | 0:21:13 | |
Hi, hello. Stand right here. | 0:21:16 | 0:21:19 | |
I'm renting a flat here in Edinburgh | 0:21:20 | 0:21:23 | |
and a couple of mornings ago I had somebody knocking on my door. | 0:21:23 | 0:21:28 | |
And I'm thinking, "Who's knocking on my door, I don't know anybody here." | 0:21:28 | 0:21:33 | |
So I say, "Who is it?!" The guy says, "Scottish Power!" | 0:21:33 | 0:21:38 | |
I say, "Good for you, man. | 0:21:41 | 0:21:44 | |
"Patriotism is a great thing. | 0:21:46 | 0:21:50 | |
"I don't know why you feel the need to knock on my door about it, but... | 0:21:50 | 0:21:55 | |
"I'm going back to bed." | 0:21:55 | 0:21:57 | |
I get into arguments with taxi drivers all the time | 0:21:57 | 0:22:00 | |
and I get out the cab and I slam the door, | 0:22:00 | 0:22:02 | |
but that's not the way to win an argument with a taxi driver. | 0:22:02 | 0:22:06 | |
The way to win is you get out the cab and you leave the door open. | 0:22:06 | 0:22:09 | |
Then he has to step out, come round, close the door. | 0:22:09 | 0:22:12 | |
While he's doing that, I'm on the other side opening the other doors. | 0:22:12 | 0:22:16 | |
And we just keep going around and around and around. | 0:22:16 | 0:22:19 | |
And I've got my own Benny Hill situation going on. | 0:22:19 | 0:22:23 | |
Life is great. | 0:22:23 | 0:22:24 | |
Cue the music. | 0:22:24 | 0:22:26 | |
I get upset easily by people. I saw this guy, he was on the phone. | 0:22:26 | 0:22:29 | |
He had the phone between his ear and his shoulder like that, | 0:22:29 | 0:22:34 | |
but he didn't have anything in his hands. | 0:22:34 | 0:22:37 | |
And I was really upset. "Who the hell do you think you are? | 0:22:39 | 0:22:42 | |
"This action is for people who are multi-tasking. | 0:22:42 | 0:22:45 | |
"Where's your other task? You're not doing anything else!" | 0:22:45 | 0:22:48 | |
I was hoping somebody would throw a pumpkin at him. | 0:22:48 | 0:22:51 | |
"Yeah, I'm still here. You won't believe it, | 0:22:51 | 0:22:53 | |
"somebody just threw a pumpkin at me, man. | 0:22:53 | 0:22:55 | |
"Yeah, but don't worry, you know what my phone technique is. | 0:22:55 | 0:22:59 | |
"I keep my hands free, | 0:22:59 | 0:23:01 | |
"you never know what's going to happen on these crazy streets. | 0:23:01 | 0:23:04 | |
"These streets are so crazy. Why am I still holding this pumpkin?" | 0:23:04 | 0:23:08 | |
I was in the airport, there was this kid, | 0:23:08 | 0:23:11 | |
he was about four or five years old. | 0:23:11 | 0:23:13 | |
This kid fixed his fingers in a fake gun and he popped the shot at me. | 0:23:13 | 0:23:16 | |
I looked at the wall to see if there was something there | 0:23:16 | 0:23:19 | |
he could have been shooting at. | 0:23:19 | 0:23:21 | |
Looked back at him, he looked me in my eyes, popped two more shots. | 0:23:21 | 0:23:24 | |
Now, I'm in a predicament. What do I do? | 0:23:24 | 0:23:27 | |
This kid, I'm hit three times. | 0:23:27 | 0:23:29 | |
I have to defend myself, I'm a man before anything. | 0:23:29 | 0:23:31 | |
I will point blank face-shoot this kid right here in the terminal. | 0:23:31 | 0:23:35 | |
I don't care... | 0:23:35 | 0:23:36 | |
"That bitch, little kid, argh! Arghh-h-h-h! | 0:23:36 | 0:23:39 | |
"What you looking at, lady? Mind your business, lady. Everybody shut up!" | 0:23:40 | 0:23:45 | |
My other airport nemesis is... | 0:23:47 | 0:23:50 | |
..airport security, I don't like them at all. | 0:23:52 | 0:23:54 | |
They're so dedicated to keeping bottled water out of the sky, | 0:23:54 | 0:23:58 | |
that's their main thing. | 0:23:58 | 0:24:00 | |
It's probably easier to get cocaine on a plane than it is to get | 0:24:00 | 0:24:03 | |
a bottle of water. | 0:24:03 | 0:24:04 | |
Because one terrorist a few years ago did some weird liquid bomb thing | 0:24:04 | 0:24:08 | |
now no-one can bring liquids on a plane. | 0:24:08 | 0:24:11 | |
I think that's being reactive instead of proactive | 0:24:11 | 0:24:14 | |
because terrorists are always on to something new. | 0:24:14 | 0:24:17 | |
So next time it'll be some weird Snickers bomb, | 0:24:17 | 0:24:20 | |
then after that you can't bring full-size Snickers on a plane, | 0:24:20 | 0:24:23 | |
you can only bring miniature Snickers | 0:24:23 | 0:24:25 | |
cos that guy messed it up for everybody. | 0:24:25 | 0:24:27 | |
Now you're at the terminal negotiating your Snickers situation, | 0:24:27 | 0:24:31 | |
"What if I bring four miniature Snickers, | 0:24:31 | 0:24:34 | |
"that's about the same size as a full-size Snicker." | 0:24:34 | 0:24:37 | |
And the guy is like, "Don't play with me right now, this is not a game." | 0:24:37 | 0:24:41 | |
"You can't bring your bottled water, sir." "Why not? It's not bomb water. | 0:24:43 | 0:24:47 | |
"What if I sip this water to show you it's not bomb water?" | 0:24:47 | 0:24:50 | |
"What if it's sippable bomb water?" | 0:24:50 | 0:24:52 | |
"There's no such thing as sippable bomb water! | 0:24:52 | 0:24:55 | |
"You're playing silly right now. There's no such thing as bomb water." | 0:24:55 | 0:25:00 | |
They try to make conversation with me - | 0:25:00 | 0:25:02 | |
"You goin' to Edinboro for business or pleasure?" | 0:25:02 | 0:25:05 | |
"I'm going to Edinburgh to talk about you in front of strangers. | 0:25:05 | 0:25:09 | |
"So I guess both." | 0:25:10 | 0:25:12 | |
I don't wear my glasses in my drivers' licence photo, so one guy says, | 0:25:13 | 0:25:17 | |
"Can you take off your glasses?" | 0:25:17 | 0:25:18 | |
Yeah, sure, Captain America, it's still me. | 0:25:18 | 0:25:21 | |
Who are you catching like this? | 0:25:21 | 0:25:23 | |
What terrorists are getting caught using only glasses as a disguise? | 0:25:24 | 0:25:29 | |
"Goddammit, how'd they find me? No! | 0:25:31 | 0:25:36 | |
"I paid so much money for this disguise, I thought I was paying for the simplicity - ahh!" | 0:25:36 | 0:25:40 | |
Yeah, man, it's still me, do you want me to put the shirt on that I had on in the licence photo too? | 0:25:40 | 0:25:45 | |
How are we going to do that? That shirt's in checked baggage man. | 0:25:45 | 0:25:49 | |
I eat out in restaurants a bunch. | 0:25:49 | 0:25:51 | |
Whenever I go to restaurants I never put the napkin in my lap, | 0:25:51 | 0:25:55 | |
never put the napkin in my lap. | 0:25:55 | 0:25:57 | |
People say, "Why don't you put the napkin in your lap?" | 0:25:57 | 0:26:02 | |
Because I believe in myself. | 0:26:02 | 0:26:03 | |
I believe in my ability to not spill food in my pants | 0:26:06 | 0:26:10 | |
cos I'm a goddamn adult | 0:26:10 | 0:26:11 | |
and I've mastered the art of getting food from my plate to my mouth | 0:26:11 | 0:26:16 | |
without soiling my jeans, | 0:26:16 | 0:26:18 | |
you need to believe in yourself too and get your life together. | 0:26:18 | 0:26:20 | |
That's for babies. Have some confidence. | 0:26:20 | 0:26:23 | |
Thanks a lot, y'all! I'm Hannibal Buress, later. | 0:26:23 | 0:26:25 | |
CHEERING AND APPLAUSE | 0:26:25 | 0:26:28 | |
Cheers, Hannibal. | 0:26:30 | 0:26:32 | |
I'd now like to introduce an act | 0:26:32 | 0:26:34 | |
that's been slayin' 'em around Edinburgh, | 0:26:34 | 0:26:37 | |
I can't wait to see them, here they are, The Pajama Men. | 0:26:37 | 0:26:41 | |
Wa-hey! | 0:26:41 | 0:26:42 | |
IMITATES DOOR OPENING | 0:26:54 | 0:26:58 | |
Oh, what a beautiful parlour you have. | 0:26:58 | 0:27:01 | |
Well, thank you. | 0:27:01 | 0:27:02 | |
Such beautiful trophies. | 0:27:02 | 0:27:05 | |
Yes, these are things I collected all over the world | 0:27:05 | 0:27:07 | |
in my time as an explorer. | 0:27:07 | 0:27:09 | |
-You were an explorer? Fantastic! -I was. -Hey, what's this? | 0:27:09 | 0:27:12 | |
That's a porcupine, otherwise known as the blowfish of the land. | 0:27:12 | 0:27:17 | |
-Fantastic. Shall we have a drink? -Sure. | 0:27:17 | 0:27:21 | |
Join me right here, we'll use the chair door as regular chairs. | 0:27:21 | 0:27:25 | |
IMITATES POURING WINE | 0:27:29 | 0:27:32 | |
Would you mind? I can't make that sound. | 0:27:37 | 0:27:41 | |
Not at all. | 0:27:41 | 0:27:43 | |
GLUG! GLUG! GLUG! GLUG! | 0:27:43 | 0:27:48 | |
Too kind. | 0:27:48 | 0:27:51 | |
-What do they call you, friend? -Oh, I have a boring name. | 0:27:51 | 0:27:54 | |
My name is Chance. | 0:27:54 | 0:27:56 | |
Chance Thunderstance. | 0:27:56 | 0:27:58 | |
See what you mean. Shame you don't have a cool-sounding name like Dave. | 0:28:01 | 0:28:05 | |
-What's yours? -Dave. | 0:28:05 | 0:28:08 | |
-Why did you give up exploring, Dave? -I'll tell you. And then you'll know. | 0:28:08 | 0:28:14 | |
I couldn't stand what it did to my relationships. | 0:28:16 | 0:28:19 | |
I gave up the most fantastic girl. | 0:28:19 | 0:28:22 | |
You know the kind - legs up to her neck, tits down to her knees. | 0:28:22 | 0:28:27 | |
Looked like a giraffe if you held her right. | 0:28:27 | 0:28:31 | |
-She sounds beautiful. -She was. | 0:28:33 | 0:28:35 | |
I know what you mean, I just left behind my wife and a newborn babe. | 0:28:35 | 0:28:41 | |
You know, I always find it weird calling a child a babe. | 0:28:41 | 0:28:44 | |
Well, sometimes you can tell they're going to grow up to be hot. | 0:28:44 | 0:28:47 | |
I never had any children of my own, it skips a generation in my family. | 0:28:51 | 0:28:57 | |
Suppose that's why my parents were never around while I was growing up. | 0:29:00 | 0:29:04 | |
I know what that's like. | 0:29:04 | 0:29:06 | |
I never knew my father - he died before I was conceived. | 0:29:06 | 0:29:10 | |
Well, that's disgusting. | 0:29:11 | 0:29:13 | |
Would you like to know the real reason I gave up exploring? | 0:29:14 | 0:29:18 | |
-Of course! -Allow me to demonstrate with my marionettes. -All right! | 0:29:18 | 0:29:21 | |
My partner and I were trekking through the snow. | 0:29:27 | 0:29:30 | |
We came upon a bear. | 0:29:34 | 0:29:35 | |
We ran! | 0:29:38 | 0:29:39 | |
We ran all the way to the edge of the box I keep my marionettes in | 0:29:42 | 0:29:45 | |
and ran back the other way. | 0:29:45 | 0:29:47 | |
-Oh, no, you dropped one. -Yes. -I want to have a try anyway. | 0:29:49 | 0:29:54 | |
Give them to me. All right, there we go. | 0:29:54 | 0:29:56 | |
-Got that one? -Just going to get the other one over here. | 0:29:56 | 0:30:00 | |
-Yes, take this one also. -OK. Hold on, I got... | 0:30:00 | 0:30:03 | |
One of the legs is caught on the arm here. | 0:30:03 | 0:30:05 | |
-I can't really... The strings... -Loop the string around. | 0:30:05 | 0:30:09 | |
-I'm trying, trying to shake it off. -Let go with this finger. -I'm trying. | 0:30:09 | 0:30:14 | |
There we go. OK, there we are. That's nice. | 0:30:14 | 0:30:18 | |
Going to make them sit down here. There we go. | 0:30:18 | 0:30:21 | |
Pretty good, yes. You're getting it. | 0:30:21 | 0:30:24 | |
-OK, good. -Not sure what they're doing now. | 0:30:24 | 0:30:27 | |
Hello. How are you? | 0:30:27 | 0:30:30 | |
-Good. Pleasure's all mine. -Nice to meet you. | 0:30:30 | 0:30:33 | |
-Would you like some tea? -I love tea. -OK. Here's tea. | 0:30:33 | 0:30:38 | |
-Oh, good. -Delicious. | 0:30:38 | 0:30:40 | |
-Delicious tea. -It's too good. -I love to drink tea. -Yes. | 0:30:40 | 0:30:45 | |
-Would you like some crumpets? -I love crumpets. -OK. | 0:30:45 | 0:30:48 | |
Here's crumpets. Oh, yum. Delicious. | 0:30:48 | 0:30:51 | |
-Crumpets are nice. -Yum yum. -Oh, yes. | 0:30:51 | 0:30:55 | |
-Well, good night. Time for bed. -Good night. | 0:30:55 | 0:30:59 | |
-OK, goodbye. -Bye. | 0:30:59 | 0:31:01 | |
Uh-oh. Oh, no. What are they doing? | 0:31:01 | 0:31:04 | |
-What are you doing? -Oh, no. -Stop that. | 0:31:04 | 0:31:07 | |
-What are they doing? -It's not funny. -They love each other. | 0:31:07 | 0:31:10 | |
-Don't be childish. -Come on, it's hilarious. | 0:31:10 | 0:31:12 | |
-Stop them. -Oh, come on. -How old are you? | 0:31:12 | 0:31:15 | |
-Come on, they're loving it. Look at them. -Give me those. | 0:31:15 | 0:31:19 | |
CHEERING AND APPLAUSE | 0:31:23 | 0:31:26 | |
I'd like to introduce... | 0:31:33 | 0:31:34 | |
Well, I'd like to introduce Lenny Bruce but he's long dead. | 0:31:34 | 0:31:38 | |
But instead I'm delighted to introduce one of the funniest women in Edinburgh this year, | 0:31:39 | 0:31:44 | |
and indeed in the world, as you're about to find out, as we welcome to the stage Josie Long. | 0:31:44 | 0:31:50 | |
Thank you. Thank you very much. | 0:31:56 | 0:31:59 | |
Hello, hello. This is a bit high. Give me 10 seconds. | 0:31:59 | 0:32:03 | |
Then I'm going to entertain you so hard. | 0:32:03 | 0:32:06 | |
Good. Hi! There we go. That's perfect. | 0:32:06 | 0:32:10 | |
I'm going to take it out now anyway, so what's the point? | 0:32:10 | 0:32:13 | |
Well, that's life, innit? | 0:32:13 | 0:32:16 | |
What I'm going to do for you today is open with a song | 0:32:16 | 0:32:19 | |
because I've got the band. Be a good start. | 0:32:19 | 0:32:22 | |
Then I've got the letters of Charles Darwin that I thought I'd read out for you. | 0:32:22 | 0:32:26 | |
LAUGHTER | 0:32:26 | 0:32:28 | |
Evolution fans down the front. | 0:32:28 | 0:32:31 | |
Not so much at the back. That's fine. | 0:32:31 | 0:32:33 | |
I like to do a lot of different types of thing. | 0:32:33 | 0:32:36 | |
I like to think of myself as a Renaissance woman, | 0:32:36 | 0:32:38 | |
insofar as I'm a little bit chubby and I like LYING AROUND IN THE NUDE! | 0:32:38 | 0:32:43 | |
Basically this is a song about how I have problems differentiating | 0:32:43 | 0:32:48 | |
between a thing that's sort of similar but not entirely identical. | 0:32:48 | 0:32:52 | |
-OK. Shall we do it? -Mm. | 0:32:52 | 0:32:54 | |
Wait, before we start. | 0:32:54 | 0:32:57 | |
I love to sing but I'm not a natural singer. | 0:32:57 | 0:33:01 | |
LAUGHTER | 0:33:01 | 0:33:02 | |
I just think, please, it's my last chance. Please, Simon. Please. | 0:33:02 | 0:33:07 | |
I've failed at everything else, Simon. Please. | 0:33:07 | 0:33:11 | |
"She's 19, Simon. She's failed at everything. Please." | 0:33:11 | 0:33:16 | |
I know, I'm not 19. OK. | 0:33:16 | 0:33:18 | |
Let's do it. | 0:33:18 | 0:33:21 | |
JAUNTY MUSIC PLAYS | 0:33:21 | 0:33:23 | |
Ladies and gentlemen, I'm about to sing you a song about two similar | 0:33:26 | 0:33:30 | |
but not entirely identical things. | 0:33:30 | 0:33:33 | |
And how you might differentiate between the two of them. | 0:33:35 | 0:33:39 | |
# Let me tell you... # I love to sing, I love to sing! | 0:33:43 | 0:33:48 | |
# One of them is into it | 0:33:51 | 0:33:54 | |
-# The other not so much -Not so much | 0:33:54 | 0:33:58 | |
-# One of them enjoys himself -Enjoys himself | 0:33:58 | 0:34:02 | |
# The other longs for death | 0:34:02 | 0:34:06 | |
# One of them, he loves to dance | 0:34:06 | 0:34:10 | |
# The other thinks | 0:34:10 | 0:34:11 | |
# Is it too late for university? | 0:34:11 | 0:34:14 | |
-# Talking about Jedward -Jedward | 0:34:16 | 0:34:19 | |
-# Jedward -Jedward | 0:34:21 | 0:34:23 | |
-# I'm talking about Jedward -Jedward | 0:34:23 | 0:34:26 | |
# That's what I'm talking about. # I just enjoy it. | 0:34:27 | 0:34:31 | |
-MUSIC STOPS -I'm serious, if you look at them, | 0:34:32 | 0:34:35 | |
it really is the case, because if you look at John, | 0:34:35 | 0:34:39 | |
John's always like, "Hey, everything's great, yeah." | 0:34:39 | 0:34:42 | |
-MUSIC JANGLES -What is that? | 0:34:42 | 0:34:46 | |
LAUGHTER | 0:34:46 | 0:34:47 | |
OK, and if you look at Edward, Edward's like... | 0:34:47 | 0:34:50 | |
PIANIST PLAYS SINGLE NOTES | 0:34:51 | 0:34:54 | |
"I wanted to be a surgeon." | 0:34:54 | 0:34:57 | |
MUSIC PICKS UP AGAIN | 0:34:57 | 0:35:01 | |
"John. John. When can we stop this?" | 0:35:03 | 0:35:10 | |
-MUSIC STOPS -"When I am dead, Edward." | 0:35:14 | 0:35:18 | |
MUSIC STARTS | 0:35:18 | 0:35:20 | |
-MUSIC STOPS -"Would you kill your own twin for your freedom, Edward?" | 0:35:22 | 0:35:28 | |
MUSIC STARTS | 0:35:28 | 0:35:30 | |
-MUSIC STOPS -"Why are you blocking your thoughts from me, Edward?" | 0:35:32 | 0:35:37 | |
MUSIC STARTS | 0:35:37 | 0:35:38 | |
-MUSIC STOPS -Ha! That was too early! | 0:35:40 | 0:35:43 | |
"Why are you thinking of a brick wall, Edward?" | 0:35:43 | 0:35:45 | |
I mean, admittedly I messed up the last bit | 0:35:45 | 0:35:48 | |
but that's what I think about Jedward. | 0:35:48 | 0:35:51 | |
-Do you want a big finish? -Yeah. | 0:35:51 | 0:35:54 | |
# Talking about Jedward right now. # | 0:35:54 | 0:35:57 | |
-DRUM ROLL AND TRUMPET -That's what we're talking about. | 0:35:57 | 0:36:00 | |
APPLAUSE | 0:36:00 | 0:36:02 | |
Thank you very much. Oh, they're so talented. How do they do it? | 0:36:02 | 0:36:06 | |
It's like they know. | 0:36:06 | 0:36:08 | |
You just have to wave your hand at them and they stop and start. | 0:36:08 | 0:36:12 | |
So that's my song. | 0:36:12 | 0:36:14 | |
The next bit was letters from Charles Darwin, wasn't it? | 0:36:14 | 0:36:17 | |
Somebody gave me this book of letters | 0:36:17 | 0:36:20 | |
that Charles Darwin wrote home when he was going around the Galapagos Islands. | 0:36:20 | 0:36:24 | |
Before I got this book, my main opinions of Charles Darwin were like, | 0:36:24 | 0:36:28 | |
-AS A MAN: -He's from Bromley, he's got a beard, he's got to be all right. | 0:36:28 | 0:36:32 | |
I'm from Bromley. | 0:36:32 | 0:36:33 | |
-AS A MAN: -Got to be all right. Beards, lovely. Bromley, Bromley! You know. | 0:36:33 | 0:36:38 | |
He wrote to his friend Henslow as he was forming his theories of evolution. | 0:36:38 | 0:36:42 | |
That's all you need to know, so here we go. | 0:36:42 | 0:36:44 | |
-Do you want music? -Sorry? -Do you want any music? -Yeah, I reckon. | 0:36:44 | 0:36:49 | |
Could you do me something sort of sedate? | 0:36:49 | 0:36:52 | |
Almost like dur-dur-dur. Like that? | 0:36:52 | 0:36:56 | |
HE PLAYS THE TUNE SHE HUMMED | 0:36:56 | 0:36:58 | |
Exactly what I sang! No, no, no. | 0:36:58 | 0:37:01 | |
Like a gentle harpsichord, Royal Tenenbaums kind of thing. | 0:37:01 | 0:37:06 | |
-No big deal. I like Wes Anderson. -GENTLE MUSIC PLAYS | 0:37:06 | 0:37:09 | |
That's very good. That's very good. OK. | 0:37:09 | 0:37:12 | |
January 28th, my dear Henslow, | 0:37:14 | 0:37:17 | |
this morning we docked at a new island | 0:37:18 | 0:37:22 | |
and as we disembarked the vessel we encountered some turtles. | 0:37:22 | 0:37:25 | |
I saw one of them had markings upon its back which I found to be most unusual. | 0:37:25 | 0:37:30 | |
I remarked upon this to my guide and he informed me that these turtles | 0:37:30 | 0:37:35 | |
are native to this island, and this island alone. | 0:37:35 | 0:37:40 | |
So I ate it. | 0:37:41 | 0:37:44 | |
LAUGHTER | 0:37:44 | 0:37:46 | |
February 5th. My dear Henslow, | 0:37:49 | 0:37:53 | |
this afternoon as I sat writing in my journal, I was sat on the beach. | 0:37:53 | 0:37:58 | |
In the corner of one of my eyes as I wrote furiously, | 0:37:58 | 0:38:02 | |
I saw a giant lizard walking along the sea's edge. | 0:38:02 | 0:38:05 | |
I began to stare at it. | 0:38:05 | 0:38:07 | |
I concluded it was a salamander some two metres in length. | 0:38:07 | 0:38:11 | |
What a giant, proud beast it was. | 0:38:11 | 0:38:13 | |
Oh, thought I, what a thing it would be to see such a beast up close | 0:38:13 | 0:38:16 | |
but surely such a beast would be too frightened to approach me. | 0:38:16 | 0:38:19 | |
No sooner had I thought this thought, | 0:38:19 | 0:38:22 | |
that the beast indeed began to approach me, slowly, steadfastly, | 0:38:22 | 0:38:26 | |
but all the same with sureness. | 0:38:26 | 0:38:27 | |
Oh, thought I, what a shame such a beast would not come close enough | 0:38:27 | 0:38:31 | |
to allow me to see it closely and perhaps even touch it. | 0:38:31 | 0:38:33 | |
But no sooner had I thought this thought than the beast approached me to within my arm's reach | 0:38:33 | 0:38:38 | |
and allowed me to touch its head, leg and tail. | 0:38:38 | 0:38:42 | |
So I wanged it into the sea! | 0:38:43 | 0:38:46 | |
LAUGHTER | 0:38:46 | 0:38:48 | |
After much spluttering, the beast recovered itself | 0:38:49 | 0:38:52 | |
and, tentatively at first, brought its way back onto shore. | 0:38:52 | 0:38:56 | |
Oh, thought I, what a shame it is that I should not get to see such a beast again. | 0:38:56 | 0:39:01 | |
I have thrown away this opportunity for it should never approach me again after such treatment. | 0:39:01 | 0:39:06 | |
No sooner had I thought this thought, than the beast began to approach me again | 0:39:06 | 0:39:10 | |
as slowly and steadfastly as ever before. Oh, thought I, | 0:39:10 | 0:39:14 | |
surely the beast will not allow me to touch it again, | 0:39:14 | 0:39:17 | |
but no sooner had I thought this thought than the beast | 0:39:17 | 0:39:20 | |
allowed me again to touch its head, leg and tail as if to suggest | 0:39:20 | 0:39:23 | |
it had not encountered such treatment previously and did not expect it again. | 0:39:23 | 0:39:28 | |
So I wanged it into the sea again! This time I wanged it much harder. | 0:39:28 | 0:39:32 | |
The first time I was like, "Whatever, if you come near me I'll wang you into the sea." | 0:39:32 | 0:39:37 | |
That's my catchphrase. If I see a thing I've got to wang that thing right into the sea. | 0:39:37 | 0:39:41 | |
It's how I roll. Everybody knows that about me. | 0:39:41 | 0:39:44 | |
That's the second thing about me after the Bromley thing. | 0:39:44 | 0:39:47 | |
It comes back. I wang it into the sea. | 0:39:47 | 0:39:50 | |
Three hours I was there. Every time it would come back, | 0:39:50 | 0:39:54 | |
I'd be like, "Oh, you want some more of this little man? | 0:39:54 | 0:39:57 | |
"By all means, I've got plenty. I've got it in the pantry. | 0:39:57 | 0:40:00 | |
"There could be a nuclear holocaust, mate, | 0:40:00 | 0:40:03 | |
"and I'd have enough of this backed up to wang you into the sea. | 0:40:03 | 0:40:07 | |
"I will wang you until you are no longer wangable. | 0:40:07 | 0:40:10 | |
"Come back, you'll get wanged into the sea again. | 0:40:10 | 0:40:12 | |
"That is what's going to happen this afternoon. Wang, wang, wang." | 0:40:12 | 0:40:17 | |
And then I ate it. | 0:40:19 | 0:40:21 | |
LAUGHTER | 0:40:21 | 0:40:22 | |
Goodbye. | 0:40:22 | 0:40:24 | |
APPLAUSE | 0:40:24 | 0:40:26 | |
Josie! Here he is, Sammy J. | 0:40:26 | 0:40:29 | |
NOSTALGIC MUSIC PLAYS | 0:40:29 | 0:40:31 | |
# When Grandma died, my father drove us to her house to clean it up | 0:40:35 | 0:40:40 | |
# And sort possessions into piles | 0:40:40 | 0:40:43 | |
# Things to keep and things to chuck away | 0:40:43 | 0:40:47 | |
# And Saturday became a whole weekend | 0:40:47 | 0:40:50 | |
# As we would stop to read her letters | 0:40:50 | 0:40:53 | |
# Look at photos like we were getting to know her | 0:40:53 | 0:40:56 | |
# And I can't help but feel | 0:40:56 | 0:40:58 | |
# That my grandkids won't treat me with such respect when I go | 0:40:58 | 0:41:03 | |
# There'll be no box of photo albums to collect | 0:41:03 | 0:41:07 | |
# Just a hard drive full of folders | 0:41:07 | 0:41:10 | |
# And in the folders there's be files | 0:41:10 | 0:41:12 | |
# And if they double-click those files they'll see me | 0:41:12 | 0:41:16 | |
# But there'll be no heavy lifting so there'll be no nostalgic sifting | 0:41:17 | 0:41:21 | |
# Through my life because I can see now | 0:41:21 | 0:41:25 | |
FASTER MUSIC | 0:41:25 | 0:41:27 | |
# When my life is completed I'll be deleted | 0:41:27 | 0:41:31 | |
# Click one button There goes Grandad | 0:41:31 | 0:41:33 | |
# Now it's time for brunch | 0:41:33 | 0:41:35 | |
# Every e-mail sent Every iCal event | 0:41:35 | 0:41:38 | |
# But future grandkids give me a chance | 0:41:38 | 0:41:42 | |
# Just treat that hard drive like my house and walk in through the door | 0:41:42 | 0:41:47 | |
# Watch your step The desktop's messy | 0:41:47 | 0:41:49 | |
# And my junk's all on the floor | 0:41:49 | 0:41:51 | |
# But keep on going to the study | 0:41:51 | 0:41:54 | |
# Then in the bottom drawer | 0:41:54 | 0:41:56 | |
# You'll find pictures that tell my story | 0:41:56 | 0:42:00 | |
# Like the one of me and Keith in France | 0:42:00 | 0:42:02 | |
# With a croissant in my pants that looks like a penis | 0:42:02 | 0:42:05 | |
# Good times | 0:42:07 | 0:42:09 | |
# Or the one of me and Hannah in North Queensland | 0:42:09 | 0:42:12 | |
# Sitting inside a fibreglass orange and trying not to laugh | 0:42:12 | 0:42:15 | |
# Cos the guy who built the fibreglass orange was taking the photo for us | 0:42:15 | 0:42:20 | |
# And he seemed so proud and we felt so bad | 0:42:20 | 0:42:22 | |
# Cos up until the moment he'd approached us | 0:42:22 | 0:42:25 | |
# We'd been standing there taking the piss | 0:42:25 | 0:42:27 | |
# Cos it looked nothing like an orange | 0:42:27 | 0:42:29 | |
# We thought it was an armadillo | 0:42:29 | 0:42:31 | |
# OK, I confess you had to be there | 0:42:31 | 0:42:34 | |
# And to you it might seem boring but I guess | 0:42:34 | 0:42:37 | |
# I still thought 20 gig of JPEGs were worth storing | 0:42:37 | 0:42:41 | |
# Cos someone someday might care that their grandad once stood there | 0:42:41 | 0:42:44 | |
# On the Champs Elysee with a croissant in his pants | 0:42:44 | 0:42:48 | |
# But because they're not collated in an album laminated | 0:42:49 | 0:42:53 | |
# To protect the tears that fall | 0:42:53 | 0:42:56 | |
# Will there be any tears at all? | 0:42:56 | 0:42:58 | |
# Then open up my inbox and try to understand | 0:42:58 | 0:43:02 | |
# That's a lifetime's correspondence | 0:43:02 | 0:43:05 | |
# That you're holding in your hand | 0:43:05 | 0:43:08 | |
# Every YouTube link I sent Every eBay bid recorded | 0:43:08 | 0:43:12 | |
# Every e-mail that's meant to be for someone | 0:43:12 | 0:43:15 | |
# But got forwarded accidentally | 0:43:15 | 0:43:18 | |
# Cos some dickhead pressed reply all | 0:43:18 | 0:43:20 | |
# So that 20 people now know | 0:43:20 | 0:43:23 | |
# That I think I'm being overcharged by my graphic designer | 0:43:23 | 0:43:28 | |
# And one of those 20 people is my graphic designer | 0:43:28 | 0:43:32 | |
# And you might like to read your grandad's grovelling reply | 0:43:32 | 0:43:36 | |
# In which he tries to walk the fine line | 0:43:36 | 0:43:39 | |
# Between apologising and blaming someone else | 0:43:39 | 0:43:42 | |
# And that's just one of many thousand conversations you'll find there | 0:43:42 | 0:43:47 | |
# But you won't bother You won't care, I know | 0:43:47 | 0:43:50 | |
# You'll just press delete | 0:43:50 | 0:43:51 | |
# A lifetime on earth Delete | 0:43:51 | 0:43:53 | |
# So that's what I'm worth | 0:43:53 | 0:43:55 | |
# Just hold down alt-delete-control And format my heart and soul | 0:43:55 | 0:43:58 | |
# And grandkids I know you can hear me now | 0:43:58 | 0:44:01 | |
# Because I'm giving this song to my lawyer | 0:44:01 | 0:44:04 | |
# To play to you when you ask about my will | 0:44:04 | 0:44:07 | |
# Cos you won't get anything until | 0:44:07 | 0:44:10 | |
# You've opened every file And that could take a while | 0:44:10 | 0:44:14 | |
# Because my iTunes library | 0:44:14 | 0:44:16 | |
# Will bear witness to my flagrant disregard for copyright | 0:44:16 | 0:44:20 | |
# And the toolbar at the bottom | 0:44:20 | 0:44:22 | |
# Indicates that it will take you 16 days | 0:44:22 | 0:44:25 | |
# To get through all my random songs | 0:44:25 | 0:44:27 | |
# Like Do The Bartman | 0:44:27 | 0:44:29 | |
# And the instrumental album | 0:44:29 | 0:44:30 | |
# That's inspired by the music from The Lion King | 0:44:30 | 0:44:33 | |
# It's not actually the music from The Lion King | 0:44:33 | 0:44:36 | |
# Just inspired by it | 0:44:36 | 0:44:38 | |
# I don't know why I bought it | 0:44:38 | 0:44:40 | |
# I never listen to it but I hope that you enjoy it | 0:44:40 | 0:44:43 | |
# And that song Tubthumping by that band Chumbawamba | 0:44:43 | 0:44:47 | |
# That's the sort of crap your grandad liked when he was younger | 0:44:47 | 0:44:51 | |
# He synced it to his iPhone like all his generation | 0:44:51 | 0:44:54 | |
# Long before they started dying out from iPhone radiation | 0:44:54 | 0:44:59 | |
# Oh, I just remembered | 0:45:00 | 0:45:02 | |
# If you come across a folder marked home movies, best avoid that | 0:45:02 | 0:45:07 | |
# Your grandma and I were young and that led to you | 0:45:07 | 0:45:11 | |
# So show some respect | 0:45:11 | 0:45:13 | |
# Don't eject me, no | 0:45:13 | 0:45:16 | |
# And please don't press delete. # | 0:45:16 | 0:45:19 | |
APPLAUSE | 0:45:19 | 0:45:20 | |
Thanks, guys. Cheers. | 0:45:20 | 0:45:22 | |
Sammy J! | 0:45:25 | 0:45:27 | |
Now please give a big round of applause. From Australia, it's Sam Simmons! | 0:45:27 | 0:45:32 | |
APPLAUSE | 0:45:32 | 0:45:34 | |
All right, let's do this nice and loud. | 0:45:40 | 0:45:44 | |
FUNKY MUSIC PLAYS | 0:45:44 | 0:45:46 | |
TRUMPETS PLAY | 0:45:51 | 0:45:53 | |
I'm going to play a gameshow inside my own mind. You can't play. | 0:45:55 | 0:46:00 | |
It's a gameshow in my mind beginning now. | 0:46:00 | 0:46:04 | |
GAMESHOW JINGLE PLAYS | 0:46:05 | 0:46:07 | |
'Question number one. What are baby whales called?' | 0:46:09 | 0:46:12 | |
Sardines. | 0:46:12 | 0:46:13 | |
DING! | 0:46:13 | 0:46:15 | |
'Question number two. Is it wrong to feed a cat Viennetta?' | 0:46:16 | 0:46:19 | |
Not if you're a millionaire! | 0:46:19 | 0:46:21 | |
DING! | 0:46:21 | 0:46:22 | |
'Question number 17. Pick the odd one out. Philip, Janine, Peter or Margaret?' | 0:46:23 | 0:46:28 | |
-Janine. -BUZZ! | 0:46:28 | 0:46:30 | |
-'No, it's Philip because he's only got one arm.' -How the fuck would I know? | 0:46:30 | 0:46:34 | |
'Question number 45. What is 14 plus 22?' | 0:46:36 | 0:46:40 | |
36. | 0:46:40 | 0:46:41 | |
'No, the answer is maths.' | 0:46:41 | 0:46:43 | |
BUZZ! | 0:46:43 | 0:46:44 | |
'Now it's time for everybody's second favourite game. Carpet Or Floor.' | 0:46:44 | 0:46:49 | |
ELECTRONIC MUSIC PLAYS | 0:46:49 | 0:46:52 | |
# Carpet Or Floor | 0:46:55 | 0:46:57 | |
# Carpet Or Floor. # | 0:47:11 | 0:47:13 | |
BUZZ! | 0:47:14 | 0:47:16 | |
Meanwhile in Portugal, Raul is learning to clap. | 0:47:16 | 0:47:19 | |
He's trying his best. | 0:47:19 | 0:47:22 | |
CLAPPING | 0:47:22 | 0:47:23 | |
MUSIC PLAYS | 0:47:23 | 0:47:24 | |
CLAPPING | 0:47:24 | 0:47:26 | |
MUSIC PLAYS | 0:47:26 | 0:47:27 | |
CLAPPING | 0:47:27 | 0:47:28 | |
Fuck! | 0:47:28 | 0:47:30 | |
'Question number 56. | 0:47:30 | 0:47:32 | |
'Is it me but are Glenn Close and Meryl Streep the same person?' | 0:47:32 | 0:47:36 | |
RUSHING NOISE | 0:47:36 | 0:47:37 | |
BEEP! | 0:47:37 | 0:47:39 | |
CAT MIAOWS | 0:47:39 | 0:47:41 | |
HE HISSES | 0:47:41 | 0:47:43 | |
MEOWING AND HISSING CONTINUE | 0:47:43 | 0:47:45 | |
DING! | 0:47:47 | 0:47:48 | |
In Mexico, some people in the village think that Pablo is a weirdo. | 0:47:48 | 0:47:52 | |
ROMANTIC MUSIC PLAYS | 0:47:52 | 0:47:54 | |
WOLF WHISTLES | 0:47:54 | 0:47:56 | |
BEEP! | 0:48:05 | 0:48:07 | |
Sam Simmons, there he is. | 0:48:07 | 0:48:09 | |
So this is our debut single, | 0:48:09 | 0:48:11 | |
a debut single which we're going to release in winter 2016. | 0:48:11 | 0:48:14 | |
We're aiming for the Easter number one slot in 2017, | 0:48:14 | 0:48:19 | |
the coveted Easter number one slot. | 0:48:19 | 0:48:21 | |
It's quite a tender song. If you know it, do join in. | 0:48:21 | 0:48:25 | |
FUNKY MUSIC PLAYS | 0:48:25 | 0:48:27 | |
# Monday | 0:48:31 | 0:48:33 | |
# Tuesday | 0:48:33 | 0:48:35 | |
# Wednesday | 0:48:35 | 0:48:37 | |
# Thursday. # He knows it! | 0:48:38 | 0:48:41 | |
# Friday, Saturday, Sunday. # OK, second verse. | 0:48:41 | 0:48:46 | |
# Monday. # It's quite similar. | 0:48:46 | 0:48:48 | |
# Tuesday. # It's a bit more heartfelt. | 0:48:48 | 0:48:50 | |
# Wednesday | 0:48:50 | 0:48:52 | |
# Thursday | 0:48:52 | 0:48:55 | |
# Friday, Saturday, Sunday. # | 0:48:55 | 0:48:57 | |
Now it's French with a key change. | 0:48:57 | 0:49:00 | |
# Lundi | 0:49:00 | 0:49:02 | |
# Mardi. # Oui! Bonjour. | 0:49:02 | 0:49:04 | |
# Mercredi | 0:49:04 | 0:49:06 | |
# Jeudi. # Baguette! | 0:49:06 | 0:49:09 | |
# Vendredi, samedi, dimanche. # | 0:49:09 | 0:49:11 | |
Now it's in German! Up again. | 0:49:11 | 0:49:14 | |
# Montag | 0:49:14 | 0:49:15 | |
# Dienstag. # Then my favourite. | 0:49:15 | 0:49:18 | |
# Mittwoch | 0:49:18 | 0:49:20 | |
# Donnerstag | 0:49:20 | 0:49:22 | |
# Freitag, Samstag, Sonntag. # | 0:49:22 | 0:49:25 | |
Now everybody, Japanese! # Getsuyobi | 0:49:25 | 0:49:29 | |
# Kayobi. # Everyone! | 0:49:29 | 0:49:31 | |
LAUGHTER | 0:49:31 | 0:49:33 | |
Very good. | 0:49:33 | 0:49:34 | |
# Mokuyobi, obviously | 0:49:34 | 0:49:36 | |
# Kin'yobi, doyobi, nichiyobi. # | 0:49:36 | 0:49:39 | |
Last time back in English! | 0:49:39 | 0:49:41 | |
# Monday | 0:49:41 | 0:49:43 | |
# Tuesday | 0:49:43 | 0:49:45 | |
# Wednesday | 0:49:45 | 0:49:47 | |
# Thursday. # Last time! | 0:49:47 | 0:49:50 | |
# Friday, Saturday, Sunday. # | 0:49:50 | 0:49:53 | |
Oh, those were the days. | 0:49:53 | 0:49:56 | |
It's a nostalgic song, a nostalgic song. | 0:49:56 | 0:49:58 | |
Thank you. That's us. | 0:49:58 | 0:50:00 | |
So closing tonight's show, | 0:50:02 | 0:50:05 | |
he won the Big Comedy Award a couple of years ago, he is a class act. | 0:50:05 | 0:50:09 | |
He is David O'Doherty. | 0:50:09 | 0:50:11 | |
MELANCHOLY MUSIC PLAYS | 0:50:15 | 0:50:17 | |
# I grew up thinking | 0:50:17 | 0:50:19 | |
# I was just an ordinary kid | 0:50:19 | 0:50:22 | |
# Just doing things ordinary kids did | 0:50:23 | 0:50:29 | |
# But years passed me and I began to see certain strange abilities | 0:50:29 | 0:50:35 | |
# I'm not a hero but I'm not a freak, freak, freak | 0:50:35 | 0:50:40 | |
FASTER MUSIC | 0:50:40 | 0:50:42 | |
# I just have very mild superpowers | 0:50:42 | 0:50:47 | |
# Very mild superpowers | 0:50:47 | 0:50:50 | |
# Like sometimes when I'm cycling with headphones on | 0:50:50 | 0:50:54 | |
# I can predict exactly where I'll be at the end of a song | 0:50:54 | 0:50:57 | |
# Very mild superpowers | 0:50:57 | 0:51:01 | |
# Frequently in kitchens where I've never been | 0:51:01 | 0:51:04 | |
# I can sense the location of the cups and crockery | 0:51:04 | 0:51:08 | |
# I'm talking about very mild superpowers | 0:51:08 | 0:51:11 | |
# My legs aren't bionic My eyes aren't X-rays | 0:51:11 | 0:51:15 | |
# But I'm a very good judge of whether things will fit through doorways | 0:51:15 | 0:51:19 | |
# Sofas, tables in particular | 0:51:19 | 0:51:21 | |
# But for every very mild superpower | 0:51:21 | 0:51:23 | |
# There's also a very mild super weakness too | 0:51:23 | 0:51:27 | |
# I get nauseous around the smell of bins | 0:51:27 | 0:51:30 | |
# I'm afraid of certain shop mannequins | 0:51:30 | 0:51:33 | |
# I hate the cheese that's individually sliced and vacuum-wrapped in plastic | 0:51:35 | 0:51:39 | |
# I can never tell when people are being sarcastic. # | 0:51:39 | 0:51:42 | |
'Oh, Dave, I really like that song.' | 0:51:42 | 0:51:45 | |
Do you? | 0:51:45 | 0:51:46 | |
'No.' | 0:51:48 | 0:51:49 | |
Maybe it's just because you fear... | 0:51:50 | 0:51:53 | |
# My very mild superpowers | 0:51:53 | 0:51:55 | |
# Look, I'm not a mutant I'm just a man | 0:51:55 | 0:51:59 | |
# A man who happens to be frighteningly good at getting | 0:51:59 | 0:52:03 | |
# Broken pens to work...again | 0:52:03 | 0:52:06 | |
CHEERING | 0:52:06 | 0:52:09 | |
Thank you. | 0:52:09 | 0:52:10 | |
Sure, these are grim economic times, | 0:52:15 | 0:52:20 | |
it's just important to remember it's not the end of the world, you know. | 0:52:20 | 0:52:24 | |
It's a recession | 0:52:24 | 0:52:26 | |
but we've all lived through several recessi in the past. | 0:52:26 | 0:52:29 | |
It's important just to remember it's still possible to find joy even in the darkest places. | 0:52:29 | 0:52:36 | |
My friend got the final warning from the gas company recently, | 0:52:36 | 0:52:39 | |
which is a three-paragraph letter designed to put the shits is up you | 0:52:39 | 0:52:43 | |
with a fake signature laser-printed upon it. | 0:52:43 | 0:52:45 | |
Oh, my God, they mean business. | 0:52:45 | 0:52:47 | |
How does he keep such a steady hand at a time like this? | 0:52:47 | 0:52:50 | |
But what removed any tension from her whatsoever | 0:52:50 | 0:52:54 | |
was the headline across the top of the letter in bold writing, | 0:52:54 | 0:52:57 | |
because that just said, "Your balance is outstanding"! | 0:52:57 | 0:53:01 | |
LAUGHTER | 0:53:01 | 0:53:02 | |
And it's impossible to look at that and not think, "Oh, I thank you." | 0:53:02 | 0:53:07 | |
You just have to ask yourself where you find joy in the world and just follow that. | 0:53:07 | 0:53:14 | |
I get so much joy just from imagining doing things I will never have the guts to do. | 0:53:14 | 0:53:20 | |
I love the idea of going to Cats, the musical, in a dog costume. | 0:53:20 | 0:53:25 | |
There's one on aeroplanes that I nearly have the guts to do but not quite | 0:53:27 | 0:53:31 | |
and that's to slightly overreact to the pre-flight announcement. | 0:53:31 | 0:53:34 | |
Just sitting beside a stranger, completely silent, | 0:53:34 | 0:53:38 | |
just wait until the captain's name is announced. "Oh, yes! | 0:53:38 | 0:53:42 | |
"Legend. Legend! Top five, top five." | 0:53:42 | 0:53:46 | |
And then just go silent just until the co-pilot's name is announced and be like, "Oh, shit. | 0:53:48 | 0:53:54 | |
"You killed my father. You will not take my life!" | 0:53:54 | 0:53:57 | |
My friend recently carried out one of the greatest pranks | 0:53:57 | 0:54:01 | |
that has ever been carried out in the history of pranking. | 0:54:01 | 0:54:04 | |
He was at the cinema with his good lady. They had been going out for some time. | 0:54:04 | 0:54:08 | |
This isn't as sleazy as it might sound at first. | 0:54:08 | 0:54:11 | |
He decided to place his man wanger up through the bottom of the box of popcorn, | 0:54:11 | 0:54:17 | |
which is a classic | 0:54:17 | 0:54:20 | |
and 50% of you have considered doing it at some stage. | 0:54:20 | 0:54:23 | |
I certainly have and in my mind it's always seemed like such a straightforward prank. | 0:54:23 | 0:54:29 | |
It's just a question of yoik, and then, "Could I interest you in some popcorn, my darling?" | 0:54:29 | 0:54:34 | |
"Oh, yes." Rummage, rummage. | 0:54:34 | 0:54:37 | |
"Ah! You are so romantic." Mwah, mwah. | 0:54:37 | 0:54:40 | |
Reality, it turns out, is starkly different. | 0:54:40 | 0:54:44 | |
Problem one, contemporary cinema popcorn, as we all know, | 0:54:44 | 0:54:48 | |
comes in, like, a wastepaper basket that's about that size | 0:54:48 | 0:54:51 | |
so having entered the box, he then had to eat his way down for a foot and a half. | 0:54:51 | 0:54:56 | |
"Arg, arg." | 0:54:56 | 0:54:57 | |
Problem two is much worse. | 0:54:57 | 0:54:59 | |
Contemporary cinema popcorn is highly over-salted. | 0:54:59 | 0:55:03 | |
So all this time he was basically pickling his own unit. | 0:55:03 | 0:55:09 | |
A thousand years after his death, | 0:55:10 | 0:55:12 | |
his wanger will be found perfectly preserved. | 0:55:12 | 0:55:15 | |
Someone will take it on the Antiques Roadshow. | 0:55:15 | 0:55:18 | |
"Looks like a ceremonial flute of some kind." | 0:55:18 | 0:55:21 | |
Well, to some extent... | 0:55:21 | 0:55:23 | |
My friend recently broke up with his girlfriend of a long time | 0:55:23 | 0:55:27 | |
and I tried to write a song to cheer him up. I'll leave you with this. Thank you. | 0:55:27 | 0:55:31 | |
MOURNFUL MUSIC PLAYS | 0:55:31 | 0:55:32 | |
# There's no point in telling you to delete her number | 0:55:34 | 0:55:37 | |
# Cos you won't | 0:55:37 | 0:55:38 | |
# And anyway you probably know it off by heart from staring at it like a dick | 0:55:38 | 0:55:42 | |
# Just don't ring it You're not allowed | 0:55:43 | 0:55:46 | |
# You've nothing new to say | 0:55:46 | 0:55:49 | |
# You've to try to think about other things | 0:55:49 | 0:55:52 | |
# In about two weeks you will start to feel OK | 0:55:52 | 0:55:56 | |
# Go to IKEA | 0:55:56 | 0:55:58 | |
# Buy yourself a whiteboard | 0:55:58 | 0:56:01 | |
# Get the special IKEA whiteboard markers with it too | 0:56:01 | 0:56:05 | |
# Then when you get it home | 0:56:05 | 0:56:08 | |
# Immediately take it back to IKEA again | 0:56:08 | 0:56:12 | |
# Nobody needs a fucking whiteboard | 0:56:12 | 0:56:15 | |
# Seriously, what is the fridge if not just a big whiteboard? | 0:56:15 | 0:56:19 | |
# Exchange it for bath mats or something that you might actually use | 0:56:19 | 0:56:22 | |
# Now there's one afternoon gone Only about 13 more shitty ones to go | 0:56:22 | 0:56:27 | |
# Don't listen to music | 0:56:28 | 0:56:30 | |
# Or at least only instrumental music | 0:56:30 | 0:56:33 | |
# Or music with lyrics with no emotional impact whatsoever | 0:56:33 | 0:56:38 | |
# World Cup songs | 0:56:38 | 0:56:42 | |
# It Wasn't Me by Shaggy | 0:56:42 | 0:56:45 | |
# Who Let The Dogs Out? | 0:56:45 | 0:56:48 | |
# Actually that's inappropriate cos in the end she took your dog | 0:56:48 | 0:56:52 | |
# Go and visit elderly neighbours | 0:56:54 | 0:56:57 | |
# Ask them about the war | 0:56:57 | 0:56:59 | |
# Or how cold it used to be | 0:56:59 | 0:57:00 | |
# Or the first time they saw a television or a pineapple | 0:57:00 | 0:57:04 | |
# Perspective | 0:57:07 | 0:57:09 | |
# Try and do things, you know, where you move around a bit | 0:57:09 | 0:57:13 | |
# Go for a walk by the canal | 0:57:13 | 0:57:15 | |
# Well, how was I to know that's where you met? | 0:57:15 | 0:57:18 | |
# Then go for a run by the sea | 0:57:18 | 0:57:20 | |
# Oh, that's where she broke up with you | 0:57:20 | 0:57:23 | |
# Well, go there anyway | 0:57:23 | 0:57:26 | |
# She can't have the sea | 0:57:26 | 0:57:29 | |
# It's 60% of the planet | 0:57:29 | 0:57:32 | |
# You have to take the fucking sea back | 0:57:32 | 0:57:36 | |
# If you really need to think about her | 0:57:36 | 0:57:39 | |
# Try and focus on the bad stuff | 0:57:39 | 0:57:42 | |
# Her voice was actually pretty monotone | 0:57:42 | 0:57:45 | |
# I think she had contact lenses | 0:57:45 | 0:57:48 | |
# You wear glasses | 0:57:48 | 0:57:51 | |
# That means your babies would have had flippers | 0:57:51 | 0:57:55 | |
LAUGHTER | 0:57:55 | 0:57:57 | |
# There was definitely a time before you met her when you used to be OK | 0:57:57 | 0:58:01 | |
# Give it about two weeks and you'll be starting to feel that way | 0:58:01 | 0:58:06 | |
Thank you very much. | 0:58:08 | 0:58:10 | |
CHEERING AND APPLAUSE | 0:58:10 | 0:58:12 | |
David O'Doherty there! | 0:58:17 | 0:58:19 | |
We have reached the end of the evening. | 0:58:20 | 0:58:23 | |
Let me leave you and say goodbye with two little final thoughts. | 0:58:23 | 0:58:27 | |
If at first you don't succeed, then skydiving is not for you. | 0:58:27 | 0:58:32 | |
LAUGHTER | 0:58:32 | 0:58:34 | |
And always, always remember the words of Lothian Council. | 0:58:34 | 0:58:38 | |
Tuesdays and Fridays are rubbish days. | 0:58:38 | 0:58:42 | |
LAUGHTER | 0:58:42 | 0:58:44 | |
See you again sometime. Farewell. | 0:58:44 | 0:58:48 | |
CHEERING AND APPLAUSE | 0:58:48 | 0:58:50 | |
Subtitles by Red Bee Media Ltd | 0:59:00 | 0:59:04 | |
E-mail [email protected] | 0:59:04 | 0:59:08 |