Browse content similar to Context. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This programme contains adult humour. | 0:00:02 | 0:00:06 | |
People feel stand-up comedy is about attack. They say, "What are your targets? | 0:00:06 | 0:00:09 | |
"What are you going to attack?" The older I get, I realise that I'm attacking myself. | 0:00:09 | 0:00:13 | |
Not verbally or intellectually but just physically, with various | 0:00:13 | 0:00:16 | |
levels of unfitness, lack of exercise and a general sloth. | 0:00:16 | 0:00:20 | |
And I think it would be interesting to see how far you can go | 0:00:20 | 0:00:22 | |
with that and what comes out the other side. | 0:00:22 | 0:00:25 | |
This is an extraordinary, if I may say so, | 0:00:25 | 0:00:27 | |
confused blend of real, genuine danger that | 0:00:27 | 0:00:30 | |
-you're putting yourself in and totally artificial shtick. -Mmm. | 0:00:30 | 0:00:34 | |
APPLAUSE | 0:00:36 | 0:00:37 | |
Thank you...I know. | 0:00:37 | 0:00:39 | |
So, erm, I was in another cab, right? | 0:00:39 | 0:00:43 | |
I don't just go around in... I don't just go around in cabs. | 0:00:43 | 0:00:46 | |
It's just that I mainly look after kids or do gigs, | 0:00:46 | 0:00:48 | |
so the only time I get to talk to adults and get | 0:00:48 | 0:00:51 | |
ideas for routines is if I pay them to drive me around, basically. | 0:00:51 | 0:00:54 | |
LAUGHTER | 0:00:54 | 0:00:55 | |
Anyway, I was in another cab and in the front of the cab the guy | 0:00:55 | 0:00:58 | |
had all England flags and EDL stuff, I thought, "Here we go". | 0:00:58 | 0:01:01 | |
I judged him, basically. | 0:01:01 | 0:01:04 | |
Which you shouldn't do. | 0:01:04 | 0:01:05 | |
My grandad always said, "You should never judge a book by its cover." | 0:01:05 | 0:01:08 | |
And it's for that reason that he lost his job as chair | 0:01:08 | 0:01:11 | |
of the British Book Cover Awards panel. | 0:01:11 | 0:01:13 | |
LAUGHTER | 0:01:13 | 0:01:15 | |
I can write jokes, I just choose not to. | 0:01:19 | 0:01:21 | |
LAUGHTER | 0:01:21 | 0:01:23 | |
Anyway, the bloke's started out with all this BNP type stuff. | 0:01:23 | 0:01:28 | |
And I got a bit... I got more bored than annoyed by it in the end, | 0:01:28 | 0:01:32 | |
to be honest. | 0:01:32 | 0:01:33 | |
In the end, I said to him, "You know what? I'm going to get out here." | 0:01:33 | 0:01:36 | |
I said, "Stop the car and don't expect a tip...my wife is black." | 0:01:36 | 0:01:40 | |
Now, she isn't black. | 0:01:40 | 0:01:42 | |
But if she was, I'm sure she would have been very annoyed by what | 0:01:42 | 0:01:45 | |
that cab driver had to say. | 0:01:45 | 0:01:47 | |
Or maybe not, maybe she would have engaged with him | 0:01:47 | 0:01:51 | |
and used her intelligence and her personality | 0:01:51 | 0:01:53 | |
and her sense of humour to, sort of, talk him out of his prejudices. | 0:01:53 | 0:01:57 | |
I hope so. | 0:01:57 | 0:01:59 | |
I hope that's the kind of woman | 0:01:59 | 0:02:00 | |
my imaginary black wife would have been. | 0:02:00 | 0:02:03 | |
LAUGHTER | 0:02:03 | 0:02:04 | |
Not like my real wife, my white wife, as I call her. | 0:02:08 | 0:02:12 | |
LAUGHTER | 0:02:12 | 0:02:14 | |
She's Irish, so she probably would just have been drunk | 0:02:17 | 0:02:19 | |
and hit the bloke. | 0:02:19 | 0:02:21 | |
Absolutely awful. | 0:02:21 | 0:02:23 | |
But my black, imaginary wife, what's she like? | 0:02:23 | 0:02:27 | |
I tell you what, she's very... | 0:02:27 | 0:02:28 | |
LAUGHTER | 0:02:28 | 0:02:30 | |
..very laid-back, cool, | 0:02:32 | 0:02:34 | |
chilled out sort of person. | 0:02:34 | 0:02:36 | |
She's very good with the children, she never gets riled up by them. | 0:02:36 | 0:02:40 | |
My real Irish wife, if it's after six o'clock, forget it. | 0:02:40 | 0:02:44 | |
She's drunk, violent, aggressive, incoherent, religious bigot. | 0:02:44 | 0:02:49 | |
LAUGHTER | 0:02:49 | 0:02:51 | |
I won't negotiate with her. | 0:02:54 | 0:02:56 | |
LAUGHTER | 0:02:56 | 0:02:57 | |
Or with any of them, to be honest. | 0:03:00 | 0:03:03 | |
But my black, imaginary wife... | 0:03:03 | 0:03:07 | |
When we first met it was difficult | 0:03:07 | 0:03:10 | |
because back then people in the UK were more suspicious | 0:03:10 | 0:03:13 | |
of mixed-race relationships but it's much better now. | 0:03:13 | 0:03:17 | |
And also, it's easy, because it doesn't...it's not real, | 0:03:17 | 0:03:20 | |
I've imagined it. So, I don't really know what it's like. | 0:03:20 | 0:03:23 | |
It's sort of patronising, liberal delusion. | 0:03:23 | 0:03:26 | |
LAUGHTER | 0:03:26 | 0:03:28 | |
I was in another cab on the day that the House of Lords were | 0:03:31 | 0:03:34 | |
discussing the gay marriage bill. | 0:03:34 | 0:03:36 | |
And the cab driver, who as it turned out was a Hindu, | 0:03:36 | 0:03:39 | |
he said to me he was against sexual unions of people of the same | 0:03:39 | 0:03:43 | |
gender on religious grounds. | 0:03:43 | 0:03:45 | |
I thought to myself, I thought, "I wonder which Hindu god it is | 0:03:45 | 0:03:49 | |
"objects to the sexual union of two people of the same gender. | 0:03:49 | 0:03:52 | |
"I do hope it's the Hindu god that looks like the result | 0:03:52 | 0:03:56 | |
"of the sexual union of a human and an elephant." | 0:03:56 | 0:03:59 | |
LAUGHTER | 0:03:59 | 0:04:01 | |
But I didn't think of that at the time, I'm not funny in real life. | 0:04:03 | 0:04:06 | |
I thought of it... I thought of it when I got home | 0:04:06 | 0:04:10 | |
and I wrote it on my desk and I learned it and I've come | 0:04:10 | 0:04:13 | |
and I've said it to you tonight. | 0:04:13 | 0:04:15 | |
And I've learned this, as well, that I'm saying now and written that. | 0:04:15 | 0:04:18 | |
And this now, I've written that and learned that. | 0:04:18 | 0:04:20 | |
And this, just going like that going like that, ehh... | 0:04:20 | 0:04:23 | |
I've learned that and I've written that | 0:04:23 | 0:04:25 | |
and this now, I've learned this. | 0:04:25 | 0:04:27 | |
And this, and this now...and this. | 0:04:27 | 0:04:30 | |
And just going...ehh, I've written that and learned that. | 0:04:30 | 0:04:33 | |
Everything's written and learnt. | 0:04:33 | 0:04:35 | |
So, I didn't say that, I said to him, "Do you know what?" | 0:04:35 | 0:04:38 | |
I said, "Stop the car, I'm going to get out here | 0:04:38 | 0:04:41 | |
"and don't expect a tip, my wife is a man.' | 0:04:41 | 0:04:44 | |
LAUGHTER | 0:04:44 | 0:04:46 | |
Now, he isn't a man, he's a woman. | 0:04:49 | 0:04:51 | |
But if he was a man, | 0:04:51 | 0:04:53 | |
I'm sure he would have been very offended by that Hindu cab driver. | 0:04:53 | 0:04:57 | |
Or maybe not, maybe he would have engaged with him | 0:04:57 | 0:05:00 | |
and tried to laugh him | 0:05:00 | 0:05:02 | |
out of his prejudices using his sense of humour. | 0:05:02 | 0:05:05 | |
Cos you know what? They've got a hilarious sense of humour, | 0:05:05 | 0:05:08 | |
-haven't they? -LAUGHTER | 0:05:08 | 0:05:09 | |
The gays...very witty, acerbic, | 0:05:09 | 0:05:13 | |
caustic sense of humour, the gays. | 0:05:13 | 0:05:16 | |
Not like my imaginary black wife, she's very serious, | 0:05:16 | 0:05:20 | |
or my real white, Irish wife, who as I've said, is a violent hooligan. | 0:05:20 | 0:05:25 | |
A harridan...little better than a gutter thug. | 0:05:25 | 0:05:29 | |
LAUGHTER | 0:05:29 | 0:05:31 | |
But my gay imaginary wife is absolutely hilarious, | 0:05:31 | 0:05:35 | |
he's the funniest person I've ever met. | 0:05:35 | 0:05:39 | |
He should have his own chat show, they should try that. | 0:05:39 | 0:05:43 | |
He's so funny, I reckon, after five minutes alone with him, | 0:05:43 | 0:05:48 | |
that Hindu cab driver would have opened his own Grindr account. | 0:05:48 | 0:05:52 | |
-He's hilarious! -LAUGHTER | 0:05:52 | 0:05:54 | |
He's fantastic, I love him. I love all my wives, they're all great. | 0:05:54 | 0:05:57 | |
Now... | 0:05:57 | 0:05:58 | |
LAUGHTER | 0:05:58 | 0:06:00 | |
..one night I ate too much cheese | 0:06:00 | 0:06:03 | |
and I know, I can see you thinking, | 0:06:03 | 0:06:06 | |
"We can see that, mate. | 0:06:06 | 0:06:07 | |
"We can see you've been at the cheese since the last series." | 0:06:07 | 0:06:11 | |
And in your mind's eye you are probably picturing me | 0:06:11 | 0:06:15 | |
eating a massive block of cheese. | 0:06:15 | 0:06:17 | |
I'm not a pig. I wouldn't do that. | 0:06:17 | 0:06:19 | |
I'd eat that much cheese but I'm a connoisseur of cheese. | 0:06:19 | 0:06:22 | |
I'd eat that amount but little bits from all different types of cheese. | 0:06:22 | 0:06:26 | |
I absolutely love cheese. | 0:06:26 | 0:06:28 | |
I love cheese, I love cheeses. | 0:06:28 | 0:06:30 | |
I love all the different cheeses. | 0:06:30 | 0:06:32 | |
LAUGHTER | 0:06:32 | 0:06:35 | |
PROLONGED LAUGHTER | 0:06:46 | 0:06:49 | |
Red Leicester. | 0:06:54 | 0:06:56 | |
LAUGHTER | 0:06:56 | 0:06:58 | |
All the cheeses, I love all of them. | 0:07:03 | 0:07:05 | |
So... | 0:07:05 | 0:07:07 | |
..one night I ate too much cheese and my black imaginary wife | 0:07:09 | 0:07:13 | |
and my gay imaginary wife, well, they met in my sub-conscious. | 0:07:13 | 0:07:17 | |
Now, they both knew about my real white, Irish wife, | 0:07:17 | 0:07:20 | |
but they didn't know about each other. | 0:07:20 | 0:07:22 | |
And the shit hit the fan! | 0:07:22 | 0:07:24 | |
My black imaginary wife was stomping around. | 0:07:24 | 0:07:26 | |
My gay imaginary man wife, he was going, | 0:07:26 | 0:07:29 | |
"What if your real white, Irish wife were to find out about all this? | 0:07:29 | 0:07:34 | |
"I wonder if your marriage would survive?" | 0:07:34 | 0:07:36 | |
And it was at that moment, I realised, I had no option | 0:07:36 | 0:07:39 | |
but to murder both of them. | 0:07:39 | 0:07:41 | |
LAUGHTER | 0:07:41 | 0:07:43 | |
Now, in my mind that's the punch line of that bit | 0:07:43 | 0:07:46 | |
but it never gets a huge laugh. | 0:07:46 | 0:07:48 | |
And, I think, the problem is that the character of the black imaginary wife | 0:07:49 | 0:07:55 | |
and the gay imaginary wife are so richly drawn, aren't they? | 0:07:55 | 0:07:59 | |
They're so three dimensional. They avoid all the usual stereotyping. | 0:07:59 | 0:08:04 | |
And I think it's as if you know them | 0:08:04 | 0:08:07 | |
and you've got a very real relationship with them. | 0:08:07 | 0:08:10 | |
You're going, "No, don't take them away." | 0:08:10 | 0:08:12 | |
LAUGHTER | 0:08:12 | 0:08:14 | |
So little is expected from a stand-up comedian. | 0:08:14 | 0:08:17 | |
They're viewed with contempt | 0:08:17 | 0:08:19 | |
and thought of as the very lowest form of entertainer, I think. | 0:08:19 | 0:08:23 | |
And so, if you, like, bring in the slightest illusion of thought | 0:08:23 | 0:08:29 | |
or intelligence, you appear to be some sort of genius. | 0:08:29 | 0:08:32 | |
It's interesting, I think that's part of the cocktail of what | 0:08:32 | 0:08:35 | |
you present to people that makes them constantly unable to | 0:08:35 | 0:08:38 | |
rest, is that at one time you're destroying yourself physically and | 0:08:38 | 0:08:42 | |
yet almost in the same breath you will describe yourself as a genius. | 0:08:42 | 0:08:46 | |
-Yeah. -Which you have just done. -Maybe, yeah. | 0:08:46 | 0:08:49 | |
I mean you have to, surely you have to, | 0:08:49 | 0:08:51 | |
otherwise where do you get the nerve to even begin this stuff? | 0:08:51 | 0:08:54 | |
Well, it's a...it's a...well, from drinking. | 0:08:54 | 0:08:57 | |
It's a Dutch confidence, I think it's called, and I feel | 0:08:57 | 0:09:01 | |
if I can get out there, | 0:09:01 | 0:09:03 | |
if I can just stay upright for half an hour, keep talking, | 0:09:03 | 0:09:08 | |
shout over any interruptions, I can probably get through it. | 0:09:08 | 0:09:11 | |
Now...because I'm better than you, | 0:09:12 | 0:09:16 | |
I live here in multicultural Hackney, in North-East London. | 0:09:16 | 0:09:22 | |
Which means that I interact with people of different races, creeds, | 0:09:22 | 0:09:25 | |
cultures, backgrounds, whatever, often two or three times a week. | 0:09:25 | 0:09:29 | |
And this... | 0:09:29 | 0:09:31 | |
LAUGHTER | 0:09:31 | 0:09:33 | |
..coupled with talking to loads of racist cab drivers, | 0:09:33 | 0:09:37 | |
gives me a massive overview of the notion of offence | 0:09:37 | 0:09:41 | |
in contemporary British society. | 0:09:41 | 0:09:43 | |
Here's two examples. Where I live in Hackney on our street, | 0:09:43 | 0:09:46 | |
there used to be a jazz club in an old medieval building | 0:09:46 | 0:09:49 | |
and I used to go there a lot. | 0:09:49 | 0:09:51 | |
Not to watch normal jazz, I used to go to see the experimental, improvised free jazz. | 0:09:51 | 0:09:55 | |
And then, one day, this building got bought by Nando's who were | 0:09:55 | 0:09:59 | |
going to knock it down and make a Nando's. | 0:09:59 | 0:10:02 | |
So, me and my wife, we joined the anti-Nando's campaign. | 0:10:02 | 0:10:05 | |
And one day a black woman I know was walking along the street | 0:10:05 | 0:10:08 | |
and she saw me and she came up to me and said, | 0:10:08 | 0:10:10 | |
"Oh, I see you've joined the anti-Nando's campaign." | 0:10:10 | 0:10:14 | |
And I went, "Yes", and I assumed the body language | 0:10:14 | 0:10:17 | |
of a man awaiting praise. | 0:10:17 | 0:10:18 | |
LAUGHTER | 0:10:18 | 0:10:20 | |
And she said to me, "Shame on you!" And I said, "What?" | 0:10:20 | 0:10:25 | |
And she said, "I notice you didn't complain when the Chinese restaurant opened." | 0:10:25 | 0:10:29 | |
I couldn't work out what was going on, I said, "What's going on?" | 0:10:29 | 0:10:31 | |
Turned out, the assumption is that Nando's is popular with | 0:10:31 | 0:10:34 | |
the black community in North-East London, I didn't really know that. | 0:10:34 | 0:10:37 | |
And she thought I didn't want a Nando's opening | 0:10:37 | 0:10:40 | |
because I didn't want black people eating on my street. | 0:10:40 | 0:10:42 | |
And I said to her, "No, that isn't the case at all. | 0:10:42 | 0:10:45 | |
"We're trying to save the jazz club. | 0:10:45 | 0:10:47 | |
"And jazz is a black music, so I'm not racist at all." | 0:10:47 | 0:10:51 | |
LAUGHTER | 0:10:51 | 0:10:53 | |
And she said, "Jazz IS a black music," | 0:10:54 | 0:10:57 | |
she said, "but not the sort of jazz that you like." | 0:10:57 | 0:11:00 | |
LAUGHTER | 0:11:00 | 0:11:02 | |
"The free, improvised, experimental jazz," | 0:11:05 | 0:11:07 | |
she said, "though it has its roots in the innovations of black | 0:11:07 | 0:11:12 | |
"performers like Sunny Murray or Albert Ayler, its chief sphere | 0:11:12 | 0:11:17 | |
"of influence is drawn from the white, European post-war avant-garde." | 0:11:17 | 0:11:21 | |
-IMITATES WEST INDIAN ACCENT: -Bombaclat. | 0:11:26 | 0:11:29 | |
LAUGHTER | 0:11:29 | 0:11:31 | |
Good to be back in multicultural London | 0:11:31 | 0:11:33 | |
and get a laugh for that line. | 0:11:33 | 0:11:36 | |
I was doing this bit in Edinburgh in August, | 0:11:36 | 0:11:39 | |
I say that, people just looking around going, "Oh, dear, is that racist?" | 0:11:39 | 0:11:43 | |
They look around to see if there's anyone to check with | 0:11:43 | 0:11:46 | |
and, of course, there isn't. | 0:11:46 | 0:11:47 | |
LAUGHTER | 0:11:47 | 0:11:49 | |
So it's good to be back in London where everyone should live. | 0:11:49 | 0:11:52 | |
LAUGHTER | 0:11:52 | 0:11:55 | |
To be fair, I've been slightly unfair with that joke. | 0:11:55 | 0:11:57 | |
Obviously, that woman had had experience of actual prejudice. | 0:11:57 | 0:12:00 | |
Enough to assume I was being prejudiced, which I understand. | 0:12:00 | 0:12:03 | |
Although I don't think you should judge people. | 0:12:03 | 0:12:05 | |
My grandad always said, "Judge not, lest ye be judged." | 0:12:05 | 0:12:09 | |
And it was for that reason...that he | 0:12:09 | 0:12:13 | |
lost his job as Lord Chief Justice | 0:12:13 | 0:12:18 | |
of England and Wales. | 0:12:18 | 0:12:20 | |
LAUGHTER | 0:12:20 | 0:12:22 | |
Terrible waste of public money to appoint him with that... | 0:12:22 | 0:12:26 | |
Utterly irresponsible. | 0:12:26 | 0:12:28 | |
Even the most cursory check of his employment record would have | 0:12:28 | 0:12:31 | |
revealed that he had a lifelong pathological aversion to any | 0:12:31 | 0:12:36 | |
job involving judgment of any sort. | 0:12:36 | 0:12:39 | |
What's the first, most racist joke you would say? | 0:12:40 | 0:12:44 | |
The first, most racist joke? | 0:12:44 | 0:12:46 | |
If I was going to do a racist set, | 0:12:46 | 0:12:48 | |
I'd like to make sure that I've offended everyone. | 0:12:48 | 0:12:51 | |
And I think if you offend everyone, | 0:12:51 | 0:12:53 | |
that's the same as not offending anyone. | 0:12:53 | 0:12:55 | |
But you have to start right back, all through time. | 0:12:55 | 0:12:59 | |
So, I'd probably do the Samarians or the Incas. | 0:12:59 | 0:13:03 | |
Some people like that. | 0:13:03 | 0:13:05 | |
Would you really let Australopithecus have it? | 0:13:05 | 0:13:08 | |
Yeah, I would. | 0:13:08 | 0:13:09 | |
I'd particularly go for them and all forms of early man, Ice Age man. | 0:13:09 | 0:13:15 | |
I would mock the cave paintings of the Ice Age man | 0:13:15 | 0:13:18 | |
and their primitive sculptures. | 0:13:18 | 0:13:20 | |
The title of the show is - it's two hours long, it's live - | 0:13:20 | 0:13:24 | |
A Hard Of Hearing Man Mocks Every Race That's Ever Existed In Chronological Order. | 0:13:24 | 0:13:29 | |
That would be the title of it. | 0:13:29 | 0:13:31 | |
Wembley Arena? | 0:13:33 | 0:13:34 | |
Wembley Arena, long running West End hit. | 0:13:34 | 0:13:38 | |
Course, now the Nando's has opened, I love it. | 0:13:38 | 0:13:40 | |
I love Nando's, I go there all the time. | 0:13:40 | 0:13:42 | |
Jesus Christ, it's made me really fat, going to Nando's. | 0:13:42 | 0:13:46 | |
The problem is I do like jazz more than Nando's though. | 0:13:46 | 0:13:51 | |
The conflict of interest I would have would be if Nando's were | 0:13:51 | 0:13:56 | |
to invent some kind of jazz chicken. | 0:13:56 | 0:13:59 | |
By which I mean a chicken, which | 0:13:59 | 0:14:01 | |
while still recognisably a chicken, used improvisation and chance | 0:14:01 | 0:14:06 | |
procedure to operate at the very limits of what a chicken could be. | 0:14:06 | 0:14:10 | |
LAUGHTER | 0:14:10 | 0:14:13 | |
For my money, that's the best joke in the series, right? | 0:14:19 | 0:14:22 | |
It's gone all right here but not great. It's gone all right. | 0:14:22 | 0:14:26 | |
Makes me die a little inside to just have that go all right. | 0:14:27 | 0:14:33 | |
But I'm a professional, | 0:14:33 | 0:14:34 | |
I'm just going to press on into the rest of the routine. | 0:14:34 | 0:14:38 | |
So, erm... | 0:14:38 | 0:14:41 | |
Here's another example of what I'm talking about. | 0:14:41 | 0:14:43 | |
I was in Dalston, right, in East London. | 0:14:43 | 0:14:46 | |
I was driving down Dalston High Road. | 0:14:46 | 0:14:49 | |
I was going slowly because there were loads of potholes | 0:14:49 | 0:14:51 | |
and my wife was pregnant at the time, it was about three years back. | 0:14:51 | 0:14:54 | |
And I got to Dalston Junction... | 0:14:54 | 0:14:57 | |
Now, right, I know this is going to go out on the telly | 0:14:57 | 0:15:00 | |
and already, what will be happening is there will be people in Scotland | 0:15:00 | 0:15:03 | |
e-mailing in and Twittering in and stuff like that and going, | 0:15:03 | 0:15:06 | |
-BAD SCOTTISH ACCENT: -"How dare you, you mentioned..." | 0:15:06 | 0:15:09 | |
I can't do all the voices, but they are going to be going, | 0:15:09 | 0:15:12 | |
"How dare you mention Dalston. | 0:15:12 | 0:15:15 | |
"I don't know where that is. | 0:15:15 | 0:15:17 | |
"How am I supposed to understand your joke | 0:15:17 | 0:15:20 | |
"when there's a place name in London I've never... | 0:15:20 | 0:15:23 | |
"I've never heard of that. | 0:15:23 | 0:15:26 | |
"It's absolutely outrageous that you would do that. | 0:15:26 | 0:15:29 | |
"It's so London-centric." | 0:15:29 | 0:15:31 | |
What I say... | 0:15:31 | 0:15:32 | |
What I say to the Scots, that's who that was, | 0:15:34 | 0:15:39 | |
who say, "What is Dalston like?" | 0:15:39 | 0:15:43 | |
It's all right. It can be a bit rough, | 0:15:43 | 0:15:44 | |
can be a bit violent sometimes. | 0:15:44 | 0:15:46 | |
Dalston's like the 90% of Edinburgh | 0:15:46 | 0:15:48 | |
that the Scots keep hidden behind that rock. | 0:15:48 | 0:15:51 | |
All your tourists walking around, aren't they, | 0:15:53 | 0:15:56 | |
"Let's go in the tea shop, that's nice. | 0:15:56 | 0:15:58 | |
"Let's go in the museum. Let's walk up Arthur's Seat... | 0:15:58 | 0:16:01 | |
"Aagh!" | 0:16:01 | 0:16:04 | |
"They spat heroin into my face!" | 0:16:04 | 0:16:06 | |
Just get over it. It's obvious what I'm talking about. | 0:16:09 | 0:16:12 | |
It's just a bit of town. | 0:16:12 | 0:16:14 | |
You don't have to be from a place to understand... | 0:16:14 | 0:16:16 | |
I know what the Loch Ness Monster is, I'm not from Scotland, | 0:16:16 | 0:16:20 | |
but I know what that is. | 0:16:20 | 0:16:22 | |
Lot of people think the Loch Ness Monster doesn't exist, | 0:16:22 | 0:16:25 | |
don't they, actually? Now, I don't know anything | 0:16:25 | 0:16:27 | |
about zoology, biology, geology, | 0:16:27 | 0:16:32 | |
geography, marine biology, crypto-zoology, | 0:16:32 | 0:16:38 | |
evolutionary theory, evolutionary biology, meteorology, | 0:16:38 | 0:16:45 | |
limnology, history, herpetology, | 0:16:45 | 0:16:50 | |
palaeontology or archaeology, | 0:16:50 | 0:16:54 | |
but I think... | 0:16:54 | 0:16:57 | |
..what if a dinosaur had got in the lake? | 0:17:10 | 0:17:13 | |
It would live there for a million years just eating mud... | 0:17:22 | 0:17:28 | |
Could have done. | 0:17:28 | 0:17:31 | |
Maybe there's like a family and over through history | 0:17:31 | 0:17:34 | |
became their job to warn it of danger | 0:17:34 | 0:17:37 | |
and they had a bagpipe and they would go... | 0:17:37 | 0:17:40 | |
HE MIMICS BAGPIPE | 0:17:40 | 0:17:42 | |
"Loch Ness Monster, look out! The scientists are coming. | 0:17:42 | 0:17:48 | |
"And they've got a radar. | 0:17:51 | 0:17:54 | |
"Go in a crack." | 0:17:56 | 0:17:57 | |
So I was at Dalston Junction... | 0:18:03 | 0:18:08 | |
I didn't really know where I was going, | 0:18:08 | 0:18:10 | |
so I was dawdling at Dalston Junction. | 0:18:10 | 0:18:12 | |
And you must never dawdle at Dalston Junction, Scotland, | 0:18:12 | 0:18:15 | |
because if you dawdle, if you dawdle at Dalston Junction, | 0:18:15 | 0:18:19 | |
one of two things is going to happen. | 0:18:19 | 0:18:22 | |
You're either going to be shot in the face | 0:18:22 | 0:18:24 | |
or you're going to have a satirical anti-capitalist graffiti mural | 0:18:24 | 0:18:28 | |
sprayed on you by a white, middle-class, art-school dropout. | 0:18:28 | 0:18:33 | |
And which one of those two things happens depends on which way | 0:18:35 | 0:18:38 | |
the tide of gentrification is flowing that week. | 0:18:38 | 0:18:42 | |
So I was at Dalston Junction, I was dawdling, I was holding up | 0:18:42 | 0:18:45 | |
the traffic and a black guy pulled up alongside me in a car and he | 0:18:45 | 0:18:49 | |
wound down the window and he shouted at me in a jaunty, encouraging, | 0:18:49 | 0:18:52 | |
not unfriendly sort of way, he shouted, | 0:18:52 | 0:18:55 | |
"Come on, move your ass, nigga." | 0:18:55 | 0:18:57 | |
Now, as a white, middle-class liberal, | 0:18:59 | 0:19:01 | |
I have terrible anxieties about the use of that word. | 0:19:01 | 0:19:04 | |
And the Football Association, for example, | 0:19:04 | 0:19:06 | |
have struggled terribly with that word in recent years. | 0:19:06 | 0:19:09 | |
As they have, to be fair, with all words. | 0:19:09 | 0:19:12 | |
Unless they're a synonym for the phrase, "Ah, the lad's done well." | 0:19:17 | 0:19:21 | |
Race is a hot potato in football, ongoing one. | 0:19:23 | 0:19:26 | |
Reg Hunter, who is a black comedian, he got in trouble for using | 0:19:26 | 0:19:29 | |
the N-word at a football do, and David Bernstein, | 0:19:29 | 0:19:32 | |
the then-head of the FA, he said the word was unacceptable, | 0:19:32 | 0:19:36 | |
irrespective of context. | 0:19:36 | 0:19:38 | |
And I completely understand the genuine anxiety behind the thinking. | 0:19:38 | 0:19:43 | |
But far be it from me | 0:19:43 | 0:19:46 | |
to take issue with a footballer's grasp of semantics... | 0:19:46 | 0:19:49 | |
..but can you have a context-free word? | 0:19:52 | 0:19:54 | |
Can you have a word, the meaning of which, | 0:19:58 | 0:20:02 | |
has no relationship with the meaning of the words around it? | 0:20:02 | 0:20:06 | |
Isn't that just what language is? I don't know. | 0:20:06 | 0:20:11 | |
Can you have a context-free word? | 0:20:11 | 0:20:14 | |
If you call a tree a twat in a forest... | 0:20:14 | 0:20:18 | |
..and there's no-one there from the FA to adjudicate, | 0:20:23 | 0:20:28 | |
how do you know if that's offensive? | 0:20:28 | 0:20:32 | |
If you shout "tits" at a shrub, in a cellar, is that wrong? | 0:20:32 | 0:20:38 | |
If Ricky Gervais shouts "mong" in a forest, over and over again, | 0:20:42 | 0:20:49 | |
and there's no Americans there to tell him he's a genius... | 0:20:49 | 0:20:52 | |
..is that then offensive? I don't know. | 0:20:57 | 0:21:01 | |
Can you have a context-free word? | 0:21:02 | 0:21:05 | |
And if you can have a context-free word, | 0:21:05 | 0:21:08 | |
what does that say about my experience of a black man calling me | 0:21:08 | 0:21:11 | |
the N-word in an apparently friendly way in multicultural Dalston? | 0:21:11 | 0:21:15 | |
Was it an insult, was it a compliment, | 0:21:15 | 0:21:17 | |
was it a case of mistaken identity? | 0:21:17 | 0:21:19 | |
I've got no idea whatsoever. | 0:21:19 | 0:21:21 | |
I don't understand what's going on. | 0:21:21 | 0:21:25 | |
If you want certainties, you have to go and see Roy 'Chubby' Brown. | 0:21:25 | 0:21:31 | |
In his new touring show, An Evening Of Certainty. | 0:21:31 | 0:21:34 | |
The advertising strap-line, | 0:21:36 | 0:21:38 | |
"Leave the same as you arrived, only more so." | 0:21:38 | 0:21:40 | |
I don't know. I don't know. | 0:21:45 | 0:21:48 | |
But what I say to footballers is this. | 0:21:48 | 0:21:50 | |
Footballers, do not attempt to advise writers and artists | 0:21:50 | 0:21:55 | |
on the way that words and sounds become couriers for nuanced meaning. | 0:21:55 | 0:22:02 | |
And we won't attempt to advise you on how best to change ends | 0:22:02 | 0:22:05 | |
at half-time with a drunk teenager in a hotel penthouse. | 0:22:05 | 0:22:08 | |
Now, this is exactly the sort of thing that I'm talking about. | 0:22:10 | 0:22:14 | |
There was laughs, wasn't there, applause | 0:22:14 | 0:22:16 | |
and some anxious sort of booing over there. | 0:22:16 | 0:22:19 | |
And I think I know what's going on, the audience, generally here, | 0:22:19 | 0:22:23 | |
they thought, "We understand the thrust of this, broadly. | 0:22:23 | 0:22:26 | |
"He's asking questions about the relative merits of misogyny | 0:22:26 | 0:22:30 | |
"and racism in football culture. | 0:22:30 | 0:22:32 | |
"We understand there's a broadly liberal thrust to the joke. | 0:22:32 | 0:22:35 | |
"But we're uncomfortable, Stew, | 0:22:35 | 0:22:37 | |
"about the violence of the imagery contained within it." | 0:22:37 | 0:22:40 | |
I understand that and I'm very alert to taste issues in stand-up. | 0:22:40 | 0:22:45 | |
I've been trying to think how best to deal with taste issues | 0:22:45 | 0:22:47 | |
in stand-up, and to that end, I've been watching | 0:22:47 | 0:22:50 | |
Jimmy Carr on Channel 4's Ten O'Clock Live and I know now | 0:22:50 | 0:22:54 | |
if you've got a joke and you're not sure about the taste implications | 0:22:54 | 0:22:57 | |
that it throws up, when you've said it, at the end, you just go... | 0:22:57 | 0:23:01 | |
And that's the same as having thought about it. | 0:23:34 | 0:23:37 | |
I'm a huge fan of political correctness, I think it's | 0:23:45 | 0:23:48 | |
a great contribution to sort of public discourse. | 0:23:48 | 0:23:50 | |
But I also love swearing and offence. | 0:23:50 | 0:23:53 | |
Some people are brilliant at swearing. | 0:23:53 | 0:23:56 | |
The best person at swearing I ever met was my father, | 0:23:56 | 0:24:00 | |
who was hilarious. | 0:24:00 | 0:24:02 | |
He was to swearing what Miles Davis was to the trumpet. | 0:24:02 | 0:24:06 | |
What the desert wind is to the sandstone rocks. | 0:24:06 | 0:24:11 | |
What Simon Cowell is to shattered dreams and crushed hopes. | 0:24:11 | 0:24:15 | |
He was a poet, an artist, a sculptor. | 0:24:15 | 0:24:17 | |
And the single most offensive sentence I ever heard him say... | 0:24:17 | 0:24:22 | |
He said it on the gangplank of a pleasure cruiser | 0:24:22 | 0:24:26 | |
in Greenwich Harbour in May 2002. | 0:24:26 | 0:24:29 | |
This amazing sentence, which managed to be simultaneously both sexist, | 0:24:31 | 0:24:37 | |
racist, sizeist and blasphemous | 0:24:37 | 0:24:41 | |
and yet it contained only eight words. | 0:24:41 | 0:24:45 | |
Five of which were abusive and the remaining three were a preposition, | 0:24:50 | 0:24:55 | |
a pronoun and the verb "look". | 0:24:55 | 0:25:00 | |
Which, working in the moment, to be fair, | 0:25:02 | 0:25:05 | |
he had not managed to make offensive, but I think given time | 0:25:05 | 0:25:09 | |
he would have come up with something. | 0:25:09 | 0:25:11 | |
It was an amazing, amazing sentence. | 0:25:11 | 0:25:13 | |
And now if, right, if there was just us here, | 0:25:13 | 0:25:16 | |
the live audience in this room, | 0:25:16 | 0:25:18 | |
I could probably say this sentence because you've had to go | 0:25:18 | 0:25:21 | |
to some difficulty in getting tickets for the live recording. | 0:25:21 | 0:25:25 | |
I sort of trust you to some extent to understand that I'm not... | 0:25:25 | 0:25:27 | |
If I was to say that sentence, I wouldn't necessarily | 0:25:27 | 0:25:30 | |
be endorsing it, I'm just putting it out there for your consideration. | 0:25:30 | 0:25:33 | |
The problem is this is on television, | 0:25:33 | 0:25:35 | |
we've no idea who is out there watching this. | 0:25:35 | 0:25:37 | |
There could be literally anyone they allow to watch television. | 0:25:37 | 0:25:41 | |
There could be journalists there watching it, | 0:25:41 | 0:25:44 | |
who will remove all the cushioning I've put around the sentence | 0:25:44 | 0:25:48 | |
and strip it back | 0:25:48 | 0:25:49 | |
to a kind of clickbait piece of controversy so I actually can't... | 0:25:49 | 0:25:52 | |
I can't say the sentence. It can't be let out into the world. | 0:25:52 | 0:25:56 | |
Although the irony is, in the last 20 minutes, | 0:25:56 | 0:25:59 | |
I have said every single word in that sentence. | 0:25:59 | 0:26:02 | |
Although none of you found them offensive | 0:26:02 | 0:26:05 | |
because of the context in which they were used. | 0:26:05 | 0:26:07 | |
I mean you ridicule the idea of a context-free word. | 0:26:15 | 0:26:18 | |
But you're worried about a word being taken out of context. | 0:26:18 | 0:26:23 | |
-Yeah. -Now if you take a word out of context | 0:26:23 | 0:26:26 | |
and put it in another context, | 0:26:26 | 0:26:29 | |
then surely for a moment it's got no context. | 0:26:29 | 0:26:33 | |
While it's in transit? | 0:26:33 | 0:26:35 | |
Yeah. | 0:26:35 | 0:26:36 | |
Yeah, if you could grab it at that point | 0:26:36 | 0:26:38 | |
and see what it tasted like, then you would know | 0:26:38 | 0:26:41 | |
whether you could have a context-free word or not. | 0:26:41 | 0:26:43 | |
Well, here's perhaps more food for doubt. | 0:26:43 | 0:26:46 | |
What about what happens to words when you're asleep? | 0:26:46 | 0:26:49 | |
Yeah... | 0:26:49 | 0:26:50 | |
MUSIC: "Prelude in E Minor" by Frederic Chopin | 0:26:53 | 0:26:57 |