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This programme contains some strong language. | 0:00:02 | 0:00:09 | |
I've managed to...it's really ebbing away. | 0:00:09 | 0:00:11 | |
I mean, you've made me, you've made me realise what slender | 0:00:11 | 0:00:14 | |
threads the whole thing is based on. And I... | 0:00:14 | 0:00:16 | |
Well, look, that's in the nature of weaving magic out of thin air... | 0:00:16 | 0:00:19 | |
-Well... -and it's also in the nature of indulging | 0:00:19 | 0:00:22 | |
in some sort of elitist prank. | 0:00:22 | 0:00:24 | |
A charlatan, really. | 0:00:24 | 0:00:25 | |
Today's young people are exposed to pornographic imagery everywhere. | 0:00:29 | 0:00:34 | |
In advertising. | 0:00:34 | 0:00:36 | |
In fashion. | 0:00:36 | 0:00:37 | |
In music. | 0:00:37 | 0:00:39 | |
And above all, in pornography. | 0:00:39 | 0:00:40 | |
Where it is extremely prevalent. | 0:00:45 | 0:00:46 | |
The first naked woman I ever saw | 0:00:48 | 0:00:50 | |
was a centrefold from Knave magazine stuck to the inside | 0:00:50 | 0:00:53 | |
of the cupboard in my dad's flat | 0:00:53 | 0:00:55 | |
where he kept his non-perishable goods. | 0:00:55 | 0:00:56 | |
To this day, I still get an involuntary erection | 0:01:00 | 0:01:02 | |
whenever I see a packet of Paxo. | 0:01:02 | 0:01:04 | |
Try explaining that to your mother-in-law on Christmas Day. | 0:01:06 | 0:01:08 | |
It's a good joke, that, but it's not like something I would do, really. | 0:01:11 | 0:01:14 | |
It's like a cheeky boy...it's like a Lee Mack joke, innit? | 0:01:17 | 0:01:19 | |
Like the cheeky boy next door. | 0:01:21 | 0:01:23 | |
I like Lee Mack, but I can't do those cheeky-boy-next-door things. | 0:01:23 | 0:01:27 | |
I'm not the cheeky boy next door, am I? | 0:01:27 | 0:01:30 | |
I'm a... | 0:01:30 | 0:01:32 | |
"cultural bully from the Oxbridge mafia..." | 0:01:32 | 0:01:34 | |
"..who wants to appear | 0:01:37 | 0:01:39 | |
"morally superior but couldn't cut the mustard on a panel game." | 0:01:39 | 0:01:42 | |
Or so I infer from Lee Mack's autobiography. | 0:01:48 | 0:01:51 | |
Cultural bully, honestly. | 0:01:59 | 0:02:01 | |
And anyway, you don't cut mustard, you spread it. | 0:02:02 | 0:02:04 | |
Idiot. | 0:02:09 | 0:02:10 | |
Now, the thing I remember most... | 0:02:14 | 0:02:16 | |
What have I ever done to him? Nothing? | 0:02:16 | 0:02:19 | |
The thing I remember...no, really. | 0:02:19 | 0:02:23 | |
The thing I remember most about this Knave centrespread | 0:02:23 | 0:02:26 | |
is even though she was naked and in bed, she had her socks on. | 0:02:26 | 0:02:31 | |
Which when I was eight or nine years old seemed ridiculous to me, | 0:02:31 | 0:02:34 | |
to be in bed with socks on. | 0:02:34 | 0:02:35 | |
Of course, now that I'm 45, it seems entirely normal. | 0:02:35 | 0:02:38 | |
I mean, I've been married for ten years, | 0:02:38 | 0:02:40 | |
I can't remember the last time I took my socks off in bed. | 0:02:40 | 0:02:43 | |
Or my pants, to be honest. | 0:02:44 | 0:02:45 | |
In fact, my wife, she said, | 0:02:47 | 0:02:49 | |
"Do you have to wear the same pair | 0:02:49 | 0:02:51 | |
"of old dirty pants to bed every night?" | 0:02:51 | 0:02:53 | |
I said, "I don't have to, love, but it will just make more washing." | 0:02:53 | 0:02:56 | |
I know, that's not like me either, is it? | 0:02:57 | 0:02:59 | |
That's like a... | 0:02:59 | 0:03:00 | |
You're thinking "Oh, that's a bit sexist." | 0:03:00 | 0:03:02 | |
"He's made more washing for his wife, who obviously does all | 0:03:02 | 0:03:05 | |
"the washing in their relationship." | 0:03:05 | 0:03:08 | |
But that's not the case, that's your assumption. | 0:03:08 | 0:03:10 | |
My wife doesn't do all the washing in our relationship. | 0:03:10 | 0:03:12 | |
We have a little Filipino who comes in and does it. | 0:03:12 | 0:03:14 | |
And you know what? | 0:03:17 | 0:03:18 | |
He's very good. | 0:03:18 | 0:03:20 | |
Yes! | 0:03:20 | 0:03:22 | |
If Adolf Hitler came round today, you'd send a limousine anyway. | 0:03:22 | 0:03:25 | |
That's who you are. | 0:03:25 | 0:03:26 | |
That's your assumption. | 0:03:28 | 0:03:30 | |
Our slave is a man. | 0:03:30 | 0:03:31 | |
But a charlatan is at least something. It's not nothing, is it? | 0:03:34 | 0:03:38 | |
-He has skills. -Exactly. | 0:03:38 | 0:03:40 | |
The skill of deception. | 0:03:40 | 0:03:42 | |
Yeah. You're persuading people that they've had a good time. | 0:03:42 | 0:03:45 | |
When, measurably, they haven't. | 0:03:45 | 0:03:46 | |
Yeah. | 0:03:46 | 0:03:47 | |
And they don't know that, even if you tell them. | 0:03:47 | 0:03:51 | |
In fact, you spend the act telling them | 0:03:51 | 0:03:53 | |
sometimes that they are not having a good time. | 0:03:53 | 0:03:55 | |
-Yeah. -They do, they will not accept it. | 0:03:55 | 0:03:57 | |
No...I mean...well, I don't... | 0:03:59 | 0:04:01 | |
It's like being the devil. | 0:04:01 | 0:04:02 | |
Yeah. I don't want them to be operating | 0:04:02 | 0:04:05 | |
under any illusions, you know? | 0:04:05 | 0:04:07 | |
I don't think they are. | 0:04:09 | 0:04:10 | |
No. Well, they won't be after they've seen all this. | 0:04:10 | 0:04:14 | |
To try and spice things up, I've taken to wearing an old pair | 0:04:14 | 0:04:17 | |
of Primark jogging bottoms to bed. | 0:04:17 | 0:04:19 | |
And my wife... | 0:04:19 | 0:04:20 | |
..my wife told me that it makes me look like a Scottish heroin addict. | 0:04:26 | 0:04:30 | |
I tell you, any more knockbacks like this | 0:04:32 | 0:04:34 | |
and I'm giving up making the effort. | 0:04:34 | 0:04:35 | |
It's just another example of how pornography has unreasonably | 0:04:37 | 0:04:40 | |
raised people's expectations. | 0:04:40 | 0:04:41 | |
I've got nothing against pornography in of itself. | 0:04:44 | 0:04:47 | |
As long as there's no bad language involved | 0:04:47 | 0:04:49 | |
and any soft furnishings in shot are reasonably tasteful. | 0:04:49 | 0:04:54 | |
But I do hate the internet, because it has made access | 0:04:54 | 0:04:57 | |
to pornography far too easy for young people. | 0:04:57 | 0:05:00 | |
It's far too easy, I think, for young people to | 0:05:00 | 0:05:03 | |
stumble across pornography today. | 0:05:03 | 0:05:05 | |
Because it was hard to see pornography in the 1970s. | 0:05:05 | 0:05:07 | |
Today's young people, all they have to do is temporarily rouse | 0:05:07 | 0:05:10 | |
themselves from their skunk-induced zombie coma and go on the internet, | 0:05:10 | 0:05:15 | |
and go, "Err, is that what it looks like? Err...Boring!" | 0:05:15 | 0:05:18 | |
I think the internet has utterly disconnected today's young people | 0:05:20 | 0:05:24 | |
from their imagination, from their environment. | 0:05:24 | 0:05:26 | |
It wasn't like that, was it, when we were young. | 0:05:27 | 0:05:29 | |
You'd be out and about, you'd be in the fields, | 0:05:29 | 0:05:31 | |
playing with a stick and a hoop. | 0:05:31 | 0:05:33 | |
Climbing up trees, getting frogspawn out of nests. | 0:05:34 | 0:05:37 | |
Kids today, they're on the internet all the time, | 0:05:41 | 0:05:43 | |
looking at internet pornography and goading each other to self harm. | 0:05:43 | 0:05:47 | |
Illegally downloading hard-working stand-up comedians' live DVDs. | 0:05:49 | 0:05:53 | |
It's not just young people either, is it, doing that. | 0:05:55 | 0:05:58 | |
If you've done that at home, | 0:05:59 | 0:06:00 | |
if you've stolen one of my live DVDs off the internet, that is | 0:06:00 | 0:06:04 | |
the same as just stealing food out of my kids' mouths. | 0:06:04 | 0:06:08 | |
Not exactly that, but it is... | 0:06:08 | 0:06:10 | |
it does delay the point at which we've got enough money | 0:06:10 | 0:06:12 | |
to move into the catchment area of a selective grammar. | 0:06:12 | 0:06:15 | |
How are my kids supposed to grow up to be campaigners for social | 0:06:21 | 0:06:24 | |
justice without the benefit of educational privilege? | 0:06:24 | 0:06:27 | |
LIMITED APPLAUSE | 0:06:29 | 0:06:31 | |
Hear that? | 0:06:31 | 0:06:32 | |
That's the sound of the middle classes applauding their own guilt. | 0:06:32 | 0:06:35 | |
But they're not absolved. | 0:06:38 | 0:06:40 | |
Only God can forgive. | 0:06:41 | 0:06:43 | |
You're sounding like you've got yourself into a bit of a mess. | 0:06:45 | 0:06:47 | |
Well...I don't think so, I think... | 0:06:47 | 0:06:49 | |
-Well, no, you wouldn't. -Well, no, I don't, I think... | 0:06:49 | 0:06:52 | |
That's consistent... | 0:06:52 | 0:06:53 | |
No, I don't, I think I want to see us | 0:06:53 | 0:06:56 | |
going backwards, technologically. | 0:06:56 | 0:06:58 | |
You sound like a mad old Pope, you sound like a Pope who's | 0:06:58 | 0:07:01 | |
threatened that somehow | 0:07:01 | 0:07:02 | |
the distribution of knowledge will corrupt. | 0:07:02 | 0:07:05 | |
You sound like a corrupt baron. | 0:07:05 | 0:07:06 | |
-I'm not against... -Well, you sound like you're worried about people nicking your money. | 0:07:06 | 0:07:10 | |
Yeah, I am worried about them nicking my money. For my stuff, that I've made. | 0:07:10 | 0:07:13 | |
Yeah, but you're looking at it as a sort of a threat | 0:07:13 | 0:07:18 | |
that isn't necessarily manifest. | 0:07:18 | 0:07:21 | |
It works in two ways. | 0:07:21 | 0:07:23 | |
It's like people genuinely worrying about too many people | 0:07:23 | 0:07:26 | |
out there having ideas. | 0:07:26 | 0:07:28 | |
Well, you've made me sound like a reactionary figure | 0:07:29 | 0:07:33 | |
for simply wanting a communication tool destroyed. | 0:07:33 | 0:07:35 | |
And I don't think that's fair. | 0:07:35 | 0:07:37 | |
I hate the internet though, I hate everything about the internet. | 0:07:38 | 0:07:42 | |
I hate, I hate Alta Vista and Myspace. | 0:07:42 | 0:07:44 | |
I hate Jeeves, hate everything about it. | 0:07:46 | 0:07:49 | |
Most of all I hate Twitter, and I'll tell you why. | 0:07:50 | 0:07:52 | |
Because if I was to have a mental breakdown | 0:07:52 | 0:07:54 | |
and forget everything that ever happened to me, it wouldn't matter. | 0:07:54 | 0:07:57 | |
Because I could just go on Twitter | 0:07:57 | 0:07:59 | |
and put my name into the search engine | 0:07:59 | 0:08:01 | |
and I could gradually piece together everything that ever happened to me | 0:08:01 | 0:08:04 | |
because every 90 minutes one of you feels obliged to go online | 0:08:04 | 0:08:08 | |
and do a live update of exactly where I am and what I'm doing. | 0:08:08 | 0:08:11 | |
"8.30am. Can't believe it. | 0:08:13 | 0:08:15 | |
"I've just seen Stewart Lee taking his son to school on the 407 bus." | 0:08:15 | 0:08:20 | |
"He looked depressed." | 0:08:20 | 0:08:22 | |
"10am, can't believe it." | 0:08:25 | 0:08:27 | |
"I'm sitting next to Stewart Lee in the Clocktower Cafe, Highbury." | 0:08:27 | 0:08:32 | |
"He's eating a muffin. He looks fat." | 0:08:32 | 0:08:34 | |
"Can't believe it, | 0:08:40 | 0:08:41 | |
"I've just seen...11.30...I've just seen Stewart Lee | 0:08:41 | 0:08:44 | |
"walking around Dalston Junction eating a falafel in the street." | 0:08:44 | 0:08:49 | |
"He looked fat and depressed, and fat as well" | 0:08:49 | 0:08:53 | |
I hate Twitter, it's like a state surveillance agency | 0:08:56 | 0:08:59 | |
staffed by gullible volunteers. | 0:08:59 | 0:09:01 | |
It's a Stasi for the Angry Birds generation. | 0:09:05 | 0:09:10 | |
And that's you, you're the Angry Birds generation. | 0:09:10 | 0:09:14 | |
Imagine the shame of being the Angry Birds generation. | 0:09:14 | 0:09:19 | |
Means nothing. | 0:09:19 | 0:09:20 | |
I hate the internet, can't bear it. | 0:09:21 | 0:09:24 | |
Kids where I live, | 0:09:24 | 0:09:25 | |
they get sent home from school with a book about how to be safe online. | 0:09:25 | 0:09:30 | |
It's produced and given away free by Vodafone, presumably | 0:09:30 | 0:09:33 | |
paid for with all the money they save from massive tax avoidance. | 0:09:33 | 0:09:37 | |
It tells you how to avoid online predators | 0:09:39 | 0:09:42 | |
and how to avoid online paedophiles. | 0:09:42 | 0:09:44 | |
It doesn't tell kids how to avoid online marketing campaigns, | 0:09:44 | 0:09:48 | |
as obviously that would strike at the very heart | 0:09:48 | 0:09:51 | |
of the public-private partnership. | 0:09:51 | 0:09:53 | |
It's called Digital Parenting, this book, Digital Parenting. | 0:09:54 | 0:09:59 | |
Thank God for that. | 0:09:59 | 0:10:01 | |
If there's one thing I can't stand it's analogue parenting. | 0:10:01 | 0:10:04 | |
The tears, the mucus, the vomit. | 0:10:06 | 0:10:08 | |
The endless declarations of love and the duty of care. | 0:10:09 | 0:10:14 | |
The sheer fucking interminable human joy of it. | 0:10:14 | 0:10:17 | |
And the cover of Vodafone's Digital Parenting | 0:10:22 | 0:10:25 | |
is a picture of three lovely-looking little kids, | 0:10:25 | 0:10:27 | |
about eight years old, all sat in a line on a sofa, | 0:10:27 | 0:10:29 | |
where they're all absorbed by handheld devices and computers and | 0:10:29 | 0:10:33 | |
screens, and they're not interacting in any meaningful human way. | 0:10:33 | 0:10:37 | |
And all through Digital Parenting are all these disguised advertorials | 0:10:37 | 0:10:42 | |
about "edu-taining" software that you absolutely need to buy. | 0:10:42 | 0:10:46 | |
Vodafone's Digital Parenting. | 0:10:46 | 0:10:48 | |
It's like the fox's guide to chicken security. | 0:10:48 | 0:10:51 | |
I'd like to see... I'd like to see the internet, | 0:10:55 | 0:10:57 | |
I'd like to see them get it and blow it up with a big bomb. | 0:10:57 | 0:11:01 | |
The internet. | 0:11:01 | 0:11:03 | |
What about the dissemination of information against those | 0:11:03 | 0:11:07 | |
in power who operate in some way, dark or corrupt practice? | 0:11:07 | 0:11:13 | |
Well, if that's at the expense of the fact that you look on one | 0:11:16 | 0:11:20 | |
underwear site to try and find your wife a present, | 0:11:20 | 0:11:23 | |
and you spend the rest of the year being bombarded with pop-ups | 0:11:23 | 0:11:28 | |
for underwear retailers, I think it's a small price to pay. | 0:11:28 | 0:11:32 | |
Get rid of it all. | 0:11:32 | 0:11:33 | |
So you'd rather avoid the pain of being bombarded with a few | 0:11:33 | 0:11:38 | |
-underwear adverts... -Yeah. | 0:11:38 | 0:11:40 | |
Than help bring down a corrupt government? | 0:11:40 | 0:11:43 | |
Well, it's not just me being bombarded with unwanted | 0:11:43 | 0:11:45 | |
underwear adverts, it's probably hundreds of people. | 0:11:45 | 0:11:48 | |
Well, that's very big of you, hundreds of people worldwide... | 0:11:48 | 0:11:51 | |
Collectively, it's a mass inconvenience. | 0:11:51 | 0:11:53 | |
-Seems a bit selfish. -Well... | 0:11:55 | 0:11:57 | |
You... | 0:12:02 | 0:12:03 | |
It's very easy to use words | 0:12:03 | 0:12:06 | |
and logic to make someone look like they're selfish, simply | 0:12:06 | 0:12:09 | |
because they've expressed a position that could be interpreted as that. | 0:12:09 | 0:12:14 | |
-That's what Julian Assange says. -Yeah, I bet. | 0:12:14 | 0:12:16 | |
But the internet has absolutely disconnected | 0:12:16 | 0:12:18 | |
today's young people from their imagination and their environment | 0:12:18 | 0:12:22 | |
and this isn't just some mad theory, I've got cast-iron proof of this. | 0:12:22 | 0:12:25 | |
Every year since 1987, I have driven up and down the A1, | 0:12:25 | 0:12:30 | |
through Northumberland on the way to the Edinburgh Festival. | 0:12:30 | 0:12:33 | |
And in Northumberland, on the A1, on the coast, | 0:12:33 | 0:12:35 | |
there's a little town called Shilbottle | 0:12:35 | 0:12:39 | |
S-H-I-L-B-O-T-T-L-E. Shilbottle. | 0:12:39 | 0:12:42 | |
And there are ten signs for Shilbottle on the A1 | 0:12:42 | 0:12:47 | |
and in the 1980s, in the 1990s, | 0:12:47 | 0:12:49 | |
local young people had gone out and they'd used their creative | 0:12:49 | 0:12:54 | |
imagination, and they'd engaged with their environment | 0:12:54 | 0:12:57 | |
in an imaginative way, to, with a single flick of a marker pen, | 0:12:57 | 0:13:01 | |
to change every one of those ten Shilbottle signs | 0:13:01 | 0:13:05 | |
on the A1 so that they said Shitbottle. | 0:13:05 | 0:13:09 | |
Shitbottle - 4 miles. | 0:13:11 | 0:13:13 | |
Shitbottle - 3 miles. | 0:13:15 | 0:13:17 | |
Shitbottle - 2 miles. | 0:13:19 | 0:13:21 | |
Shitbottle - 1 mile. | 0:13:22 | 0:13:24 | |
You are now entering Shitbottle. | 0:13:26 | 0:13:28 | |
Welcome to Shitbottle. | 0:13:30 | 0:13:32 | |
Shitbottle, Northumberland. | 0:13:34 | 0:13:36 | |
Twinned with Bouteille De Merde, France. | 0:13:36 | 0:13:39 | |
And Scheisse Flasche, Germany. | 0:13:48 | 0:13:50 | |
You probably think it's immature, but I used to find it very funny. | 0:13:53 | 0:13:56 | |
I'd be driving up there, I'd drive passed the first Shitbottle sign, I'd think "That's funny". | 0:13:56 | 0:14:00 | |
The second Shitbottle sign, I'd be really laughing. | 0:14:00 | 0:14:03 | |
The third Shitbottle sign, I'd be in hysterics. | 0:14:03 | 0:14:05 | |
By the fourth Shitbottle sign, I was take it or leave it. | 0:14:07 | 0:14:10 | |
The fifth Shitbottle sign was irritating me. | 0:14:10 | 0:14:13 | |
The sixth Shitbottle sign, I was infuriated by the audacity | 0:14:13 | 0:14:16 | |
of the people continuing with this idea. | 0:14:16 | 0:14:19 | |
The seventh Shitbottle sign, I started to find it funny again. | 0:14:21 | 0:14:25 | |
The eighth Shitbottle sign, I was really laughing. | 0:14:25 | 0:14:28 | |
The ninth Shitbottle sign, I was in hysterics. | 0:14:28 | 0:14:31 | |
By the tenth Shitbottle sign, I used to have to | 0:14:31 | 0:14:33 | |
pull off the road into a lay-by, in case I crashed. | 0:14:33 | 0:14:37 | |
And I don't think it's too much of a stretch of the imagination | 0:14:37 | 0:14:40 | |
to say that making that journey, twice a year, | 0:14:40 | 0:14:43 | |
for the best part of 30 years | 0:14:43 | 0:14:44 | |
has been a massive influence on my approach to stand-up. | 0:14:44 | 0:14:47 | |
It's not though that I find Shitbottle in of itself | 0:14:52 | 0:14:56 | |
highly hilarious, it's more about what it tells us | 0:14:56 | 0:14:58 | |
about the human creative imagination. | 0:14:58 | 0:15:00 | |
I know it seems like a silly thing, changing Shilbottle to Shitbottle, | 0:15:00 | 0:15:03 | |
but that is the same human impulse as when Ice Age man picked up a rock | 0:15:03 | 0:15:09 | |
and saw, within that, the Venus of Willendorf, it could be carved out. | 0:15:09 | 0:15:13 | |
When Neolithic man looked at Salisbury Plain and could see the | 0:15:13 | 0:15:17 | |
monuments of Stonehenge and whatever could be risen up out of that. | 0:15:17 | 0:15:21 | |
Or when Michelangelo looked at the roof of the Sistine Chapel, | 0:15:21 | 0:15:25 | |
blank, but could imagine how it could become the dome of heaven. | 0:15:25 | 0:15:29 | |
And that is the same creative impulse. | 0:15:29 | 0:15:33 | |
I don't think it's a laughing matter, | 0:15:33 | 0:15:35 | |
I think it's the same creative impulse | 0:15:35 | 0:15:37 | |
that you see in that Shilbottle, Shitbottle. | 0:15:37 | 0:15:39 | |
And the tragic thing now is that as you do that drive now along the A1, | 0:15:40 | 0:15:44 | |
now that the internet has got its coils around our kids' minds, | 0:15:44 | 0:15:50 | |
and they're not out and about, they are not engaging with their | 0:15:50 | 0:15:52 | |
environment and none of those signs have been changed to say Shitbottle. | 0:15:52 | 0:15:57 | |
And a lot of people say to me, "Well, if you like Shilbottle | 0:15:57 | 0:16:01 | |
"so much, why don't you go and live there?" | 0:16:01 | 0:16:04 | |
Or better still, if you think Shilbottle's so brilliant, | 0:16:07 | 0:16:10 | |
why don't you move to Devon or Dorset, Stew? | 0:16:10 | 0:16:13 | |
Because in Devon there's an actual town called Crapstone, | 0:16:13 | 0:16:17 | |
and in Dorset, there's an actual town called Shitterton. | 0:16:17 | 0:16:22 | |
So if you think Shilbottle, Shitbottle's | 0:16:23 | 0:16:25 | |
so funny, why don't you go and live in Crapstone or Shitterton? | 0:16:25 | 0:16:30 | |
I'm not going to do that. | 0:16:30 | 0:16:31 | |
I don't find the idea of Crapstone or Shitterton inherently amusing. | 0:16:31 | 0:16:35 | |
There's no human imagination. | 0:16:36 | 0:16:38 | |
I'm not going to stand | 0:16:38 | 0:16:40 | |
and look at a sign for Crapstone or Shitt...I'm not a child. | 0:16:40 | 0:16:44 | |
I'm not inherently amused by a stupid name. | 0:16:44 | 0:16:47 | |
It's the bringing to bear of human creativity, | 0:16:49 | 0:16:51 | |
that's what's interesting to me. | 0:16:51 | 0:16:52 | |
The only circumstances under which I'd be prepared | 0:16:53 | 0:16:58 | |
to move to Crapstone, is if I could move to Crapstone | 0:16:58 | 0:17:02 | |
with the intention of setting up a poor quality quarrying business. | 0:17:02 | 0:17:06 | |
Hello? | 0:17:16 | 0:17:17 | |
Crapstone Crap Stone? | 0:17:20 | 0:17:22 | |
Your stone cottage has fallen down? | 0:17:27 | 0:17:29 | |
Well, what did you expect? | 0:17:32 | 0:17:34 | |
The clue's in the name. | 0:17:36 | 0:17:38 | |
Yeah, see you on Watchdog. | 0:17:38 | 0:17:40 | |
I'm not going to move to Shitterton. | 0:17:42 | 0:17:45 | |
I don't find Shitterton inherently amusing in of itself. | 0:17:45 | 0:17:48 | |
The only circumstances under which I'd be interested in moving | 0:17:48 | 0:17:52 | |
to Shitterton, is if I could move to Shitterton | 0:17:52 | 0:17:56 | |
with the sole intention of setting up a business | 0:17:56 | 0:18:00 | |
which supplied one ton units... | 0:18:00 | 0:18:02 | |
..and one ton units only, of manure. | 0:18:07 | 0:18:11 | |
Hello? | 0:18:20 | 0:18:21 | |
Shitterton Ton of Shit? | 0:18:23 | 0:18:25 | |
You want three tons of manure? | 0:18:30 | 0:18:31 | |
Well, we don't do that, I only sell it in, | 0:18:33 | 0:18:36 | |
I only sell it in units of one ton. | 0:18:36 | 0:18:39 | |
I know, but you can't have three, I will only let you have one. | 0:18:40 | 0:18:43 | |
Well, I'll know it's you. | 0:19:01 | 0:19:03 | |
Well, because A, I'll recognise your voice... | 0:19:18 | 0:19:21 | |
..and, secondly I'm not that busy that if someone, you know... | 0:19:23 | 0:19:28 | |
I don't care. It's my, it's my prerogative, that is | 0:19:28 | 0:19:30 | |
my prerogative, if I want to sell one ton units. | 0:19:30 | 0:19:34 | |
I don't care. | 0:19:34 | 0:19:36 | |
I will know they're your friends, it's not... | 0:19:37 | 0:19:39 | |
Runs at a loss, yes. | 0:19:44 | 0:19:45 | |
14 years now. | 0:19:55 | 0:19:56 | |
We've never turned a profit, no. | 0:19:59 | 0:20:01 | |
Well, only if you, if you think that's the purpose of it, | 0:20:01 | 0:20:04 | |
to turn a profit, then, yes, it is failing. | 0:20:04 | 0:20:07 | |
But maybe I don't see it as that. | 0:20:09 | 0:20:10 | |
For me, the point of it is to try | 0:20:10 | 0:20:13 | |
and say something interesting about the human creative imagination. | 0:20:13 | 0:20:16 | |
No, it isn't Arts Council-funded, that's exactly | 0:20:19 | 0:20:22 | |
the sort of stupid thing... | 0:20:22 | 0:20:23 | |
They're having all their bloody funding cut. | 0:20:23 | 0:20:25 | |
The thing about people, I tell you what makes me sick about people | 0:20:28 | 0:20:32 | |
like you, you know the price of everything, don't you, | 0:20:32 | 0:20:34 | |
and the value of nothing. | 0:20:34 | 0:20:36 | |
That is... | 0:20:36 | 0:20:37 | |
That's me as well, Crapstone Crap Stone, yeah. | 0:20:41 | 0:20:43 | |
Well, neither business is so busy that I can't... | 0:20:51 | 0:20:54 | |
That is people laughing, you can hear that, yeah. | 0:20:59 | 0:21:02 | |
Well, at night I'm a stand-up comedian. | 0:21:03 | 0:21:05 | |
Well, I'm doing all right, | 0:21:08 | 0:21:09 | |
but I have to put all the money into keeping the businesses going. | 0:21:09 | 0:21:12 | |
A black hole, really. | 0:21:14 | 0:21:16 | |
I'm recording a telly thing for the... | 0:21:20 | 0:21:22 | |
Well, it's about...this episode is about pornography and the human | 0:21:25 | 0:21:28 | |
imagination and the internet and all these sort of things. | 0:21:28 | 0:21:31 | |
Well, I haven't really got an end to it to be honest. | 0:21:32 | 0:21:35 | |
I had an idea for an end, but I've lost confidence in it. | 0:21:39 | 0:21:42 | |
I can tell you what it was going to be, | 0:21:45 | 0:21:47 | |
but it won't make sense to you because you weren't here. | 0:21:47 | 0:21:50 | |
It relates back to the opening line of this bit | 0:21:50 | 0:21:53 | |
and you weren't here for that, so you won't... | 0:21:53 | 0:21:55 | |
Well, all right, OK. | 0:21:57 | 0:21:59 | |
At the beginning, I come out and I say, "The first naked woman | 0:22:02 | 0:22:07 | |
"I ever saw was a centrefold in Knave magazine stuck to the inside of the | 0:22:07 | 0:22:11 | |
"cupboard door in my dad's flat where he kept his non-perishable goods." | 0:22:11 | 0:22:16 | |
"To this day I still get an involuntary erection | 0:22:16 | 0:22:18 | |
"whenever I see a packet of Paxo." | 0:22:18 | 0:22:20 | |
"Try explaining that to your mother-in-law on Christmas Day." | 0:22:20 | 0:22:23 | |
Like Lee Mack, it is, isn't it? But it's...I know... | 0:22:24 | 0:22:27 | |
I think he's very, I think he's very good, actually, | 0:22:31 | 0:22:34 | |
but I've been reading his autobiography, | 0:22:34 | 0:22:36 | |
and I think the style of it sort of got under my... | 0:22:36 | 0:22:39 | |
Well, I thought that bit was about me. | 0:22:42 | 0:22:44 | |
I don't know, I've never done anything to him, | 0:22:45 | 0:22:47 | |
I don't know why he would do that. | 0:22:47 | 0:22:48 | |
I know, you spread it, don't you? I don't know what... | 0:22:52 | 0:22:55 | |
Strange. | 0:22:55 | 0:22:56 | |
Then at the end, at the end, I was going to say, | 0:23:00 | 0:23:04 | |
the second naked woman I ever saw was on the back... | 0:23:04 | 0:23:06 | |
In 1978 in a pub in Devon, on the back of a board of Big D Snacks. | 0:23:06 | 0:23:12 | |
I know, only one bloke knows what that was. | 0:23:12 | 0:23:14 | |
Anyone under 45 doesn't remember that. | 0:23:17 | 0:23:19 | |
You don't? | 0:23:21 | 0:23:23 | |
OK, what it was, in the '70s, there was these snacks, | 0:23:23 | 0:23:28 | |
Big D, and the more snacks you ate off the board, | 0:23:28 | 0:23:31 | |
you could see a naked woman behind them. | 0:23:31 | 0:23:35 | |
I know, well, they have the internet now, young people. | 0:23:36 | 0:23:39 | |
They don't have to eat snacks to see a naked woman. | 0:23:41 | 0:23:44 | |
Yet, ironically, they're all obese. | 0:23:46 | 0:23:48 | |
Yeah, I know. Peculiar, isn't it? | 0:23:48 | 0:23:50 | |
Then I would say, "To this day I still get an involuntary | 0:23:52 | 0:23:54 | |
"erection whenever I see a bowl of peanuts. | 0:23:54 | 0:23:58 | |
"Try explaining that to your mother-in-law | 0:23:58 | 0:24:00 | |
"on Christmas Day." | 0:24:00 | 0:24:01 | |
I know, yeah, but then...I know, but there's a topper to it. | 0:24:01 | 0:24:06 | |
I then say, "Especially following hot on the heels | 0:24:06 | 0:24:08 | |
"of the Paxo incident". | 0:24:08 | 0:24:10 | |
Well, a bit, but not enough for it to be a closer. | 0:24:14 | 0:24:16 | |
You know? | 0:24:16 | 0:24:18 | |
Well, I don't know how I'm going to end this one. | 0:24:23 | 0:24:26 | |
To be honest, I was hoping that if I keep you on the line | 0:24:27 | 0:24:30 | |
long enough, something might come up. | 0:24:30 | 0:24:31 | |
I think the next big, the next reasonable sized laugh I get, | 0:24:33 | 0:24:37 | |
I'm going to slam down the phone, call for a blackout | 0:24:37 | 0:24:40 | |
and say that's the end. | 0:24:40 | 0:24:41 | |
No, that wasn't enough. | 0:24:42 | 0:24:44 | |
If I'd been quick off the mark, that would have done. | 0:24:46 | 0:24:48 | |
Well, that's the beauty of an improvisation | 0:25:02 | 0:25:06 | |
with a secondary silent partner. | 0:25:06 | 0:25:09 | |
I can just wait while I try to think of something. | 0:25:11 | 0:25:14 | |
It's good to stop talking sometimes. | 0:25:40 | 0:25:42 | |
MOURNFUL PIANO MUSIC | 0:25:42 | 0:25:44 | |
Yeah. | 0:25:47 | 0:25:48 | |
MOURNFUL MUSIC THROUGHOUT | 0:25:52 | 0:25:55 |