Janey Godley’s cancellation for some pretty vile racist Tweets does not come as a massive shock. She made her name through edgy humour, and although over the last few years she’s tried pandering to her new more middle-class audience, not to mention figures high in the Scottish government but you can’t be a mate of government and an edgy comic at the same time. It was clear that Godley was trying to reshape herself by quoting things she clearly didn’t believe but would see her in good stead with government, but you can’t hide from your past online and that came back to hurt her.
Yet this isn’t really her fault. Whoever authorised her to be the face of a government campaign and paid her £12k (which somewhat takes the piss out of anyone’s progressive credentials to cash in on the public purse during a pandemic)should have been soundly bollocked but I doubt they will.
And I also dismay of the feral packs who hounded her to cancellation, even though she’d indulge in the same herself sometimes with people who were not abusive Rangers fans, but political opponents to the SNP for I assume, a few brownie points. Here’s the thing about cancellation; these packs will turn on anyone and find anyone. I remember seeing one Tweet when Lindsay Ellis was cancelled that said ‘they didn’t care’ about the facts but that they’d now got the chance to go after someone and effectively try to destroy their life. Which is the problem with cancellation; it never stops. One day you’re the head of the pack and the next the pack is savaging you.
Godley’s mistake was to ignore this fact and because of that she’s suffered a public shaming which ultimately, is the entire point of this thing. It’s medieval, cruel and needless, and unless we find ways to curtail it we’re all fucked.
When I first saw Gilbert Gottfried on UK TV in the late 80’s, I thought I was going to die as I couldn’t breathe frm laughing so much, so quite a first impression. Since then I’ve enjoyed his act,with his infamous post 911 gag being a work of comedic daring, audacity and skill to turn it into something vastly different.
In this video he talks about that joke as welll as comedy in general in what is an increasingly sanitised medium which makes his words worth listening to.
Comedian and gamer, Limmy claimed that Edinburgh isn’t really Scotland to the wailing cries of media types across Scotland and the UK.
He is of course ripping the piss (and so many took it seriously much to I assume, his delight) but he’s got a point. Edinburgh isn’t Scotland, or at least what most people outwith of Scotland think of as the city. It’s a theme park for tourists, just as large parts of London are, or New York or any major world city, the difference with Edinburgh is it’s such a tale of two cities as one of the shortbread tin version of Scotland sold to the world, and the other is a city and people struggling to keep up with being priced out of their own city by incomers pushing up prices.
And he’s right, you want to experience Scotland, don’t go to Edinburgh, don’t come to the nice parts of Glasgow, but go to the parts off the tourist trails where might see how most people live, and how they struggle. Sometimes that struggle is because of the gentrification thrown up upon them as this is the problem with coming to live in what you see as an authentic area. Once the incomes move in that area changes and rarely for the best.
But come to Scotland. Say hello to Nessie as well.
The early 90’s are not the dead zone of culture between the excesses of the 80’s and Britpop many histories would have you think these days. Back then things were pretty vibrant even though we were all skint and the Tories were relentlessly in power,we still could go a find a good time and the music was fucking ace then too.
One of the joys was staggering in late at night to finish off a night watching MTV and especially Beavis and Butthead, which people watched mainly for the videos as they’d play as most of the time they’d play stuff you’d never see elsewhere. Too many times I’d wake up on the couch with Revolting Cocks or an obscure Iggy Pop video playing as part of the show.
There’s a five hour plus edit of these videos now on Youtube and they’re a complete joy, and remarkably, still funny after all these years. Go relive your youth or discover it for the first time..
Richard Pryor is in my mind one of the top five comedians of the 20th century, and I don’t think there’s many out there today who have the sheer comic talent or the bollocks to do what he did. The man was a genius who died too soon, and yes, I’d dearly like an elderly Pryor casting his opinions on comedy and the world around him in this bizarre time we all live in.
Sadly we can’t but we can look back at what he did, which was a lot so that means that every now and then something pops up which is new to me and it feels amazing to find such gems. This roast of Pryor from 1977 is a glorious thing as his peers unleash their best upon him. Watch this and see a time when Pryor was near the top of his game, and bright new talents like Robin Williams were coming up challenging him.
Peter Sutcliffe is dead which is a good thing, but during all the talk of his and the women he murdered abanned sketch from Brass Eye came to mind. Brass Eye was a TV series produced by Chris Morris and a team of exceptionally talented team of writers and actors for Channel 4 in 1997. It is by far one of the great bits of TV satire/comedy ever produced in the UK, but during the first broadcast it suffered heavily from censorship, especially in Episode 6 which saw whole sketches lost including one about Peter Sutcliffe starring in his own West End musical.
At the time a Jack the Ripper musical was proposed, plus ‘Ripper tours’ of the murder sites were pulling in the money in the East End of London, which back then hadn’t gentrified to the state it has now so it wasn’t ironic hispters being mocked, but working class women. There was also a glamourisation of old gangsters, some of which commited crimes as bad as Sutcliffe. The idea this sketch was supporting Sutcliffe was a joke, but it was one pushed by the usual suspects.
Sacha Baron Cohen has come a long way from being the only actually funny person on Channel 4’s mostly long-forgotten The 11’O Clock Show in the late 1990’s. Here’s one of the better examples of that programme and a reminder why much of it remains forgotten.
Baron Cohen’s skill became to take on the powerful and not just try to get famous people to wonder what was going on, which made Ali G so much fun til that character got out of control, hence why Borat worked so well in the first film as folk in the West didn’t have a clue about Kazakhstan, so a sense of western ignorance mixed with racism meant he could get away with a lot in his uncovering of the darker side of American society and culture. This film isn’t as random as the first film this time choosing to focus on Donald Trump, the hard right Americans who follow him and that entire culture just that this time he brings a trump card as it were.
Maria Bakalova has been unknown to people til now but after this amazing, fearless performance there’s talk of her winning awards, and even though this is a fallow year for film, she should be nominated because I doubt they’ll be anything better in terms of performance this year. With Baron Cohen they make a formidable couple and seeing them take on the bigotry, and lunacy, of the Trump supporting hard right is a joy, and a nightmare as one realises this is real and happening right now in America.
What the film does is dissect modern American life in a way you’ll rarely see in news programming let alone comedy and in doing so lays open the open sores of the USA that won’t just be healed when/if Donald Trump is voted out of office next month. For me this is Baron Cohen’s best work so far as there’s a real purpose mixed with fury at the state of things as democracy itself is threatened in a way we’ve not seen in our lifetimes. If it takes Borat and his daughter to make things better then so be it.
Evil Dead 2 is one of my favourite films. It is an almost perfect sequel but when it came out in cinemas here in the UK it wasn’t anything like the success the first one was which was a shame. The first Evil Dead ran in parts of the UK for years, with it running in Glasgow in various cinemas for five years.
The second one suffered from the wave of censorship still washing over the UK and also I don’t think people outwith of the fans got it, but time has shown it to be a classic. It did however have a great marketing campaign here in the UK with Raimi working his arse off in terms of publicity, and this advert with Jonathan Ross just sums up the campaign well, and sets expectations for what you’re going to see.
The daily UK government Covid briefing is at best, a waste of time, at worst it’s a desperate attempt to spin what is a public health disaster into just another bit of politics which of course, is costing thousands of lives. It isn’t helped by a week and compliant UK media only too glad to massage Tory ministers ego.
Of course we’re now at the point where no real information is being given out, and the day-to-day briefing is something to be mocked which brings me to this great video from comedy duo Larry and Paul which is exactly like every Covid briefing ever…
One of my guity pleasures in the very porny, very gory, very bizarre 1979 film, Caligula.
This was my introduction into the world of Tinto Brass, not to mention seeing actors like John Guilgud who in this film seems to be walking around in a haze counting how large his bank account is going to be once he gets through everything. It is also a mess as producer Bob Guccione rewrote scenes, not to mention inserted hardcore sex scenes filmed on set at night when the actors were away, as he felt it needed more sex to perhaps offset the violence.
Anyhow, the film is a mess but like one of the setpieces, it’s a mess one can’t help but be intrigued by, depending on what version of the film you see as there’s multiple versions depending how how much porn and gore you want. However imagine a line of toys to go along with the film that was made in 1979? Didn’t happen of course but what if it did?