Archive for Comedy

Eurovision Song Contest: the Story of Fire Saga


Rating: PG-13 (for crude sexual material including full nude sculptures, some comic violent images, and language)
Genre: Comedy
Directed By: David Dobkin
Written By: Will Ferrell, Andrew Steele
On Disc/Streaming: Jun 26, 2020
Runtime: 121 minutes
Studio: Netflix


When everything around us is grim: Coronavirus, impending economic disaster, increasing political polarisation and – of course – Brexit and the climate change crisis, you might be forgiven for looking to watch something escapist to take you mind off things at least for an hour or so.  If so, Will Ferrell’s Eurovision Song Contest is just the tonic you need.
It’s common in Britain to treat

the annual Eurovision Contest with disdain and condescension; so this film could easily have take the lazy option and been a sneer-fest at the expense of this very popular event. It’s not. It’s an affectionate and gentle send-up of Eurovision’s more absurd, camp and at times startling features; including the voting system.


The plot, such as it is sees Lars  Erickssong (Will Ferrell) as a not-that-talented singer in a small Icelandic fishing village realise his ambition to represent his country at the 2020 Eurovision Contest in Edinburgh. Sigrit Ericksdottir (Rachel McAdams) is his best friend and his much more talented partner in Fire Saga. They get through to the final by default after an explosion on a boat wipes out the favourite to win the Icelandic heat and all the other entrants.


Pearse Brosnan plays Ferrell’s embarrassed father with superb grumpiness. There are cameo appearances from Graham Norton as himself and some real-life past Eurovision winners. Add a very camp Russian competitor, and a sexy Greek one to each make a play for Sigrit and Lars to introduce some tension between them.


The onstage performances are terrifically choreographed – as are the inevitable disasters, but Fire Saga’s entry song Double trouble makes it through to the final. There are some twists in what passes for a plot but who cares about the plot in this delightful romp? 


There are fantastic, catchy songs – which, like genuine Eurovision songs – are dreadful ear worms. You won’t get Jaja Ding Dong out of your head. I bet it will become a disco and party standard in years to come. Set all your worries and troubles aside and just luxuriate in this hugely entertaining film. 

Reviewed by David Kerr

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Counter Culture Interview with Radu Isac

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Radu Isak: “cynical and tricksy”?

You’ve been described as “simultaneously sweet and dark” and “cynical and tricksy”. Our own review of your show described your comedy as “dark and edgy”. Do you think these are fair descriptions?

I like them. I think they describe my personality and if I managed to get that across in my comedy that makes me happy.

Some of your jokes might be deemed offensive to some. You discuss some potentially sensitive issues like depression. Do you worry about causing offence? How do you deal with the possibility that some might be offended? Do you think there is a right not to be offended?

I don’t really believe there is a right not to be offended. I do think about offending people though. If a joke gets one person upset in a live show that ruins the flow of the gig. Doesn’t matter if the person is right to be upset or not. My work that evening is still ruined. I listen to what offended people have to say. It’s always constructive. I can either edit the joke to include their viewpoint. Or add another layer to the joke to contradict it.

In Good Excuses for Sociopaths, you talk about keeping the audience liking you. Is it working and how do you do it?

I am mostly joking when I say that I want everyone to like me. Of course, a lot of people don’t and won’t like me. I’m happy with that. Wanting everyone to like you seems like a very constrictive way of life. 
But generally, I think if people are laughing they are liking me. Most of them came to the comedy show to laugh.

Do you feel that comedy, in general, has any social responsibilities to avoid topics or deal with them in a certain way?

I honestly like all types of comedy. From musical to prop and even magic sometimes. If it brings a smile to someone’s face I’m happy it exists. The only type of comedy I don’t like is the preaching to the choir and learning genres. I think those comedians should get into politics, teaching or motivational speaking and stop hijacking comedy. Comedy has a responsibility to itself to never become another disciplines bitch. If the teacher does a joke in a chemistry course, it’s still a chemistry course. I wouldn’t want the Professor to start teaching chemistry in comedy clubs under the pretext that they’re doing comedy.

You’ve worked in different countries. Have you noticed differences in the way audiences from different nations react to your comedy?

I have noticed big differences between cities in the UK and even the boroughs of London. I don’t think the differences between countries are bigger than that. Generally, in my experience, wealth, education, class and sobriety are the big important parameters of differentiating audiences.

You draw on your Romanian background to highlight some differences between Romania in the past and what used to be referred to as “the West”. Clearly, we know a little about the bad side of Romania in the past but were there any areas which were better than what you’ve seen in the UK?

Well, we always did better at gymnastics than the UK. And I’m sure there are a couple of other areas where we always surpassed you. But in my show, I was mostly addressing the differences between communist Romania and capitalist Romania. I like to highlight the negative parts of our transition to capitalism. As I feel “The West” only ever talks about the positive ones.

The reaction of the audience at Good Excuses for Sociopaths I attended was very good and people were talking about it on the way out after and in the bar area. What kind of feedback have you been getting for your show?

I’m very happy to hear that. One of the main reasons for doing controversial material is to get people talking about me. I’ve mostly been getting positive reactions as well. Writing the jokes was the tough part. I had to try out suicide and genocide material sneakily in London. People still react well to edgy jokes in 2019. But no one reacts well to edgy work in progress jokes. You get branded as a risky booking way faster and more permanently than with other jokes that fall flat.

Have you seen any Fringe shows yourself? Are there any you really enjoyed?

I haven’t seen enough. I really enjoyed all that I’ve seen. Leo Kearse, Rich Wilson, Luca Cupani, Tony Law, Phil Nicol, Tania Edwards, John Kearns, Olie Horn, Darius Davies.

What next after the Fringe?

Back to the grind, I guess. I have a lot of shows booked around the UK and Europe. Will use them to write and hone new material. And hopefully, be back with a new offensive but fair and considerate hour next year.

Radu was interviewed by Pat Harrington

Radu Isac is currently giving ‘Good Excuses for Sociopaths’ at the fringe. Tickets can be purchased here.

The Counter Culture review is here.

#edinburghfringe2019 #edinburghfringe

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Radu Isac: Good Excuses for Sociopaths

raduisac

Radu Isac: dark and edgy comedy

Comedy (satire, stand-up)
Venue
27
Just the Tonic at The Grassmarket Centre – Just The Meeting Room
20:30
Aug 16-25
1 hour
Suitability: 16+ (Guideline)

If you like your comedy dark and edgy then this is the show for you. If you are in need of a ‘safe space’ then probably not! Radu Isac isn’t afraid to push boundaries and buttons. Yet as he explains he wants to keep the audience onside and still like him. He says that he got into comedy because he realised he could say things that might offend but still keep friends if he said he was joking!

I found it refreshing that at a time when comedy is coming under pressure to conform Radu talked about difficult subjects like depression, suicide, and male sexual desire. He did this in a way that revealed some truths through the humour. He is a very skilled comedian with a dry wit.

The audience loved it and I think you will too.

Reviewed by Pat Harrington

You can buy a ticket here: https://tickets.edfringe.com/…/radu-isac-good-excuses-for-s…

#edfringe #edfringe2019 #edinburghfringe2019

 

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The Crown Dual

crowndualpicGilded Balloon Patter Hoose – Big Yin
16:20
Aug 1-6, 8-13, 15-20, 22-26
1 hour 10 minutes
Suitability: 14+ (Guideline)
Country: United Kingdom – England
Group: By Daniel Clarkson, Director Owen Lewis, Presented by James Seabright

Rosie Holt and Brendan Murphy play the Queen and Prince Philip in this sharp parody of the hit Netflix series The Crown. Not just these two central characters but many more – including a Penguin! When other characters were needed members of the audience were recruited/pressganged. Some of the audience when I attended were themselves very funny and up to adlibbing.

Without being preachy or heavy there was a subversive undercurrent to the show which I enjoyed.

The Crown Dual had me laughing a lot. It is incredibly well-written with many different forms of humour woven into it including visual. If you just feel like having fun this a great show to see.

Reviewed by Patrick Harrington

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17 Million Fuck Offs

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17 Million Fuck Offs.  Written and performed by Dominic Frisby.  Music composed and played by Martin Wheatley (based on a traditional Devon folk song).  Video directed by Anon.   Audio mixed and recorded by Wayne McIntyre.  Assistant Director Mark “Yeti” Cribbs.  Available from: https://www.amazon.co.uk/17-Million-Fuck-Offs-Explicit/dp/B07PKY39CK/ref=sr_1_3_twi_mus_1?ie=UTF8&qid=1552953132&sr=8-3&keywords=dominic+frisby

INDIVIDUAL TRACK reviews for Counter Culture are like busses – you wait ages for them to arrive and then two come along at once!

Eagle-eyed readers may recall that – towards the end of last month – I reviewed a track called The Dirty Fucking Hippies Were Right!  You can read the review here https://countercultureuk.com/2019/04/25/the-dirty-fucking-hippies-were-right/ and listen to the track here https://www.youtube.com/watch?v=iKEZoY-TMG4 At the time (and to the best of my knowledge) I’d never reviewed an individual music track before.  Little did I know that I’d be at it again so quickly.

As with last months track, I can’t recall where (or when) I first became aware of 17 Million Fuck Offs but I somehow came across it on YouTube.  You can check it out here: https://www.youtube.com/watch?v=jiUFPjulTW8

Remarkably, there are several similarities and differences between The Dirty Fucking Hippies Were Right! and 17 Million Fuck Offs.  For instance, both deal with important subject matters.  The first was a track about an entire counter cultural movement – the Hippies – which had its origins in the 60s.  The second track is about a specific event, the EU referendum of 23rd June 2016.

Mystery surrounds those who wrote and performed The Dirty Fucking Hippies Were Right! although it’s been attributed to George Carlin (1937 – 2008) the American stand-up comedian, actor, author, and social critic.  However, there’s no mystery about 17 Million Fuck Offs which is the work of Dominic Frisby.  According to his web-site – https://dominicfrisby.com/ – Frisby is a libertarian and a ‘writer-performer’.  However, this brief description is very modest indeed, for he combines straight stand-up and character comedy with writing books about the economy as well as acting, presenting, voiceovers and public speaking.

So much for the differences between the two singles.  The one obvious similarity is the use of the Anglo-Saxon word, ‘Fuck’, in both titles.  Whilst it’s still considered a reasonably offensive swear word, many people seem to use it – maybe even unconsciously – in everyday speech.  To this extent, the word has become somewhat ‘normalised’.  However, I believe that it’s used on both tracks for description and emphasis.  The hippies were way, way before my time, and I’m far from an expert on them, but I believe that they were sometimes described as ‘dirty fucking hippies’.  That would explain its use on the first track.  On 17 Million Fuck Offs it’s used to great comedic effect – especially as it appears like a bolt out of the blue.  Based on a traditional Devon folk song, Frisby sets the scene at the start of the track and sings in a very authoritative manner:

‘On the 23rd of June, 2016
The people of the United Kingdom – and Gibraltar – went to vote
On an issue that for some had been burning for years
The question in full – and unaltered – was – I quote

Should the United Kingdom remain a member of the European Union
or leave the European Union?

It was the greatest democratic turnout in British history, I do not scoff
And when the time came to speak the British said fuck off.
Fuck off.’

I’ve shown the YouTube video to a few people and they’ve always reacted with a great big belly laugh when they first hear the words ‘fuck off’.  Have a listen to it yourself and you’ll know what I mean.

Dominic Frisby spends most of his time on the track ridiculing the warnings that the establishment made in the run up to the EU referendum.  Known as ‘Project Fear’ the electorate were warned, if they voted for Brexit, that ‘you’ll lose your job’, ‘you’ll lose yourhome’ and that there would be all manner of food shortages, no medicines, grounded planes and the stock market would collapse. However, most terrifying of all, there’d be ‘an outbreak of super gonorrhea. They seriously said that’. 

He also calls out various members of the establishment who promoted ‘Project Fear’.  They include politicians like David Cameron, Theresa May, George Osborne and Tony Blair – who, in my honest opinion, should be doing serious bird for war crimes – right the way through to ‘celebrities’ like Gary Lineker, JK Rowling and the deliberately (yet delightfully) misnamed Benedict Cumbertwat.  At the end of the list comes Labour’s Lord Adonis.  Frisby proves that he’s truly a great iconoclast when he asks the question on everyone’s lips:‘Who the fuck’s he anyway?’

Listening to the track, it struck me that this was the first time I’d heard a pro-Brexit comedy song.  Indeed, 17 Million Fuck Offs was only song in support of Brexit that I’d come across, no matter what genre it hailed from.

This is odd – to say the very least!  Brexit should’ve provided plenty of material for various mainstream artists & comedians to work with.  For instance, for three years now we’ve been in the ridiculous position of having those MPs who ‘represent’ their constituents in the ‘Mother of Parliaments’ trying to overturn the democratic will of those very same constituents.  It’s absolute comedy gold!  So where are all of the mainstream artists and comedians – shouldn’t they be calling out these MPs on their failure to carry out the express will of the people?  After all, we live in a democracy, don’t we?

Despite the reluctance of many ‘household names’ to point out the obvious – that representative democracy is no longer representative or democratic – Dominic Frisby has managed to do so using both gentle humour and biting satire.  This makes 17 Million Fuck Offsvery important as it reminds us why the electorate voted for Brexit and why the public is so frustrated with the current political stalemate.  To do so using music must be a nightmare for Remainers – that’s because music is universal and can cross so many barriers.  Indeed, music has the ability to touch everyone, no matter who they are.

Have a listen to both the original track – https://www.youtube.com/watch?v=jiUFPjulTW8– or the Ramona Ricketts Mix –https://www.youtube.com/watch?v=oD-Sz8S7bA0– which has a slight Irish lilt to it.  And don’t forget to let Counter Culture know what you think of  Dominic Frisby’s highly original work – both in terms of musical comedy and the message it conveys.

Reviewed by John Field.

• LOOK OUT for Dominic Frisby’s Libertarian Love Songs later this year at the Edinburgh Fringe.

 

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IRONY?

IronyPQA Venue 3, Riddle’s Court  8:00pm

3-27 August, 2018

Davy Mitchell supported by John O’Hare

The inventor of the Segway fell off a cliff while riding on a Segway. Oh the irony. That’s the theme running through Davy Mitchell’s stand-up comedy routine with some support from Galway man John O’Hare.

There were only three people in the audience the night I attended; a young man from Sheffield, a young woman from Switzerland and me – an older man from Belfast. Such a poor turnout on one particular night might have discouraged some performers but Davy and John took the opportunity to engage more fully with their audience.

All humour is relative; some jokes made me cringe, others made me laugh out loud. This pair picked up cues from their audience, improvised accordingly and gave an entertaining performance; despite noise pollution leaking in from a musical production next door.

Reviewed by David Kerr

Gold star

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The Death of Stalin (2017)

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Click on image to buy film

Directed by Armando Iannucci

Certificate: 15

Runtime: 106 minutes

These days we often hear of people being dismissed, denounced or criticised as ‘Stalinist’. This has become a term of abuse in the same manner as ‘fascist’ or ‘racist’; a useful cudgel with which the unscrupulous individual can use to beat political opponents about the head.

Armando Iannucci’s new black comedy, The Death of Stalin, offers an insight into the paralysing fear felt by everyone who lived in the Soviet Union under the rule of Josef Stalin and his brutal, sadistic henchman; NKVD spymaster Lavrenti Beria, chillingly played by Simon Russell Beale.

The best example of this gnawing fear is shown by Paddy Considine’s panic stricken Radio Moscow producer who tries to get a recording of a classical concert to Stalin after receiving a phone call from him ‘requesting’ a copy. The problem was that the concert was broadcast live; not recorded.

Stalin, (Adrian McLoughlin) is a vulgar peasant with a penchant for practical jokes and bad cowboy movies. All the other members of the politburo go along with his every whim for fear of ending up on one of Beria’s lists of ‘enemies of the people’. This tension makes for some excruciatingly bleak humour that leaves the viewers on the edge of their seats.

Great characterisations from Steve Buscemi as the calculating schemer, Khrushchev who struggles to stay ahead of Beria and keep himself free and alive; Jeffrey Tambor as Malenkov, the vacillating deputy to Stalin who finds himself in over his head after Stalin’s death and most notably by Jason Isaacs as the brash, no-nonsense war hero, Marshal Georgy Zhukov.

Some critics have questioned the use of humour in depicting this dark time in Russia’s history. Isn’t it in bad taste? Perhaps. Nevertheless it is a work of genius from the master of dark sardonic humour. Iannucci has triumphed again.

Reviewed by David Kerr

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Dr JOHN COOPER CLARKE

CQAF Festival Marquee, Customs House Square, Belfast. May 3rd 2016

As he gets older, the Bard of Salford looks more and more cadaverous. John Cooper Clarke’s wry observation, “As you can see, I’ve been piling on the pounds” won one of the biggest laughs of the evening. Most folk I know have never heard of him, so I wasJohn Cooper Clarke pleasantly surprised to see the venue packed almost to capacity.

The huge audience in the Cathedral Quarter Arts Festival Marquee had already been warmed up by another Mancunian poet, Mike Garry, who entertained them with a mixture of shrewd observational comedy and heartbreaking pathos. The most memorable item was Pay as you Go, a poem about a young girl who had been inveigled by a conniving boyfriend into ‘sexting’ him intimate pictures of herself. He then betrayed her trust by posting them on line. It was powerful stuff.

With a non-stop rapid-fire line of patter, John Cooper Clarke launched into a series of old favourites; Beasley Street and its gentrified update, Beasley Boulevard; Twat, ending with the full and unexpurgated version of Evidently Chickentown, made famous in an episode of the Sopranos (albeit in a toned down form).

Due acknowledgment was given to the Sinn Féin president, Gerry Adams TD, who a couple of days earlier had tweeted his appreciation of the Tarantino movie Django Unchained, by describing himself as a ‘Ballymurphy Nigger’. This storm of universal disapproval and outrage – some of it may even have been genuine – that broke over him was still fresh in everyone’s mind. To the delight of the audience, Cooper Clarke dedicated his upbeat rendition of Some Cunt Used the N-Word in the Sinn Féin president’s honour.

Cooper Clarke is rude, irreverent, iconoclastic and at times profane. He manages to be all this and also very, very funny – even when you can see a mile off where he’s going or what he’s going to say.

The Bard of Salford is touring throughout the UK and Ireland during the month of June. If he comes to your town, go and see this show.

**** Four stars.

David Kerr

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TRIGGER WARNING

triggerwarning cover

Trigger Warning: [free speech and offensive language]. This review contains strong racial and sexual slurs, discussions of –isms, or hatred of any kind (racism, chauvinism, classism, sexism, body-image shaming)

WHAT you have just read is a ‘Trigger Warning’. Increasingly common, a Trigger Warning is a notice at the start of any piece of writing, or audio or video to warn would-be readers, listeners or viewers that something potentially upsetting or offensive is on its way. The underlying implication seems to be look away, do not read this, or turn off your radio or television set.

This modern innovation has inspired Spiked-online editor Mick Hume to write an impassioned polemic in defence of freedom of speech which he claims is under threat, mainly because many of us don’t want to offend anyone. His new book, Trigger Warning, claims that politeness or fear of causing offence is undermining the hard-won rights of freedom of speech and thought that we like to think are the foundations of our society.

The Islamic gunmen who attacked the office of Charlie Hebdo acted not just as the soldiers of an oldish Eastern religion but also as the armed and extremist wing of a thoroughly modern Western creed… a creeping culture of conformism. The cri de Coeur of these crusaders against offensive speech is You-Can’t-Say-That.

The gunmen who shot up the offices of Charlie Hebdo and a Copenhagen café just cut out the middleman in order to stop anyone reading the blasphemies in Charlie Hebdo or listening to a debate in Copenhagen on the nature of free speech and blasphemy.

Reverse-Voltaires

Western culture seems to have fallen out with its own core value of free speech. The author brands the crusaders in question as ‘Reverse-Voltaires’. The famous phrase, attributed to the French freethinker had him saying, “I disagree with what you say, but I’ll defend to the death your right to say it.” Hume’s Reverse-Voltaires in effect say, “I know I’ll detest and be offended by what you say, and I will defend to the end of free speech my right to stop you saying it.” They don’t wish to debate or dispute arguments that they find offensive. They would deny the other person’s right to say it in the first instance. The author’s charge is that these Reverse-Voltaires’ personal emotions and feelings come first. They want to be protected from words.

What has happened to the West’s liberal lobby in defence of free speech? They still speak up for oppressed dissidents in other parts of the world but at home, too many professed ‘liberals’ have gone over to the other side and want to restrict the ‘wrong’ kinds of speech. To many, censorship even seems cool.

Under King William III of glorious, pious and immortal memory, the need lapsed in 1695 for a Crown licence to publish anything. The recent Leveson Report called for a new State-sanctioned regulator to police press freedom. Even Shami Chakrabarti of Liberty gave public support for a new Royal Charter to limit press freedom.

Hume notes sadly that the remaining Pythons – who thirty-five years ago fought massive battles against Mary Whitehouse and quite a few Church of England bishops in order that everyone could go to see The Life of Brian – have effectively switched sides and joined a secular crusade for less press freedom. Illiberal liberalism now rules the roost so that black activist Jasper Lee rejoiced in closing down the controversial Exhibit B at the Barbican with the claim that censorship was a blow for free speech.

Today, free speech is attacked in the name of defending rights and freedoms. Even worse, there is now a blurring of the line between public and private spheres so that recently a large number of public figures and celebrities were monstered for thoughts expressed in private phone calls, texts or emails that were leaked, often by former friends or partners. As Brendan O’Neill of Spiked magazine put it, “there is surely only one solution to the alleged scourge of people saying bad things in private – put a telescreen in very home to capture our banter and alert the morality police to the utterance of dark or daft thoughts.” just as was the case in Orwell’s 1984 where people were encouraged to shop colleagues, neighbours and even family members. In 1984, Orwell’s Thought Police didn’t just punish those guilty of thoughtcrime but served to encourage others to practice ‘crimestop’ – the faculty of stopping short before embracing any dangerous thought.

Historical context

Hume puts the importance of freedom of thought and free speech in its historical context in a short outline of free-speech heretics, something we as Dissenters and Non-Conformists know – or ought to know – well. The right to freedom of expression and conscience was not handed down to us as a gift from the gods or from kings and aristocrats as an act of condescending beneficence. It had to be fought for and defended, over and over again.

We have heard a lot about Magna Carta in the past few months, given that its 800th anniversary was recently celebrated in great style. It did have a genuine role against arbitrary state power by establishing the idea that the Crown is not above the law and that free men have certain rights, most notably the right to trial by a jury of their peers. However, the Magna Carta had nothing to say about freedom of speech in a society where serfs were virtually owned body and soul by the lords of the manor.

After William Caxton introduced the printing press into England in 1476, the Crown sought to control it under a system of licensing. Today’s attempts to muzzle and control the internet are not entirely unprecedented. Nothing could be published without permission of the Star Chamber. Any criticism of the Crown was branded as treason or seditious libel.

One early free-speech martyr was the Greek philosopher, Socrates who, mirroring present-day Britain and America ‘just went too far.’ He was accused of corrupting the morals of Athens youth by saying things that ought not to be said. He replied that even if they went to spare him, he would keep on saying the unsayable and asking forbidden questions. Socrates posed the question; should there be a right to be a heretic?

As Hume notes, notions of heresy change as society changes in history. ‘Heresy’ is a label stuck on you by someone else. “From the trial of Socrates to today the big battles have been about the right to go against the grain, dissent from respectable opinion and question the unquestionable.” – in short, the right to be offensive.

In an age when many people dismiss religion as repressive and reactionary, Hume reminds secular readers that William Tyndale whose struggle to publish the Bible in English ended in fiery martyrdom, as well as the other religious heretics, came up against the censorious power of the political authorities. Their demands soon melded into calls for press freedom.

In 1689, after the Glorious Revolution which brought the immortal King Billy to the throne, the Bill of Rights wrote freedom of speech and debate into English law for parliamentarians. The system of Crown licensing for printers and publishers ended in 1695. The philosopher John Locke argued in A Letter Concerning Toleration against the State interfering in matters of conscience or faith but three centuries later, the government is still at it.

Up until the last few decades, liberty of expression and free-speech had widened in the UK. The last prosecution for blasphemous libel was in 1977 when Mary Whitehouse took a private case against Gay News for a poem she didn’t like. The offences of blasphemy and blasphemous libel were abolished in 2008. However, Hume argues that this has been replaced by a form of ‘blasphemy-lite’ – the new censorship of ‘hate-speech’.

Proponents of old orthodoxies now find themselves in the dock – often literally. This might make some folk smile a ‘slap-it-into-you’ wry smile but as Hume remarks, heresy-hunting still threatens free-speech even if the person on the receiving end is a bigot. Today, a myriad of unofficial and shifting speech rules and codes apply and woe betides anyone who falls foul of them.

The internet front

In China and Turkey the State authorities are open and honest that they censor opinions that they don’t like. But the internet is today a major front in the silent war on free speech. Here in the West we don’t censor in order to enforce political repression – perish the thought – but to protect the vulnerable against harmful and hateful words.

We hear a lot in the media about internet ‘trolls’ although there is no firm definition of the term. This hasn’t prevented a government minster threatening to quadruple prison sentences for writing words based on a shaky definition of what a troll actually is.

Some people on the internet are really horrible but ‘trolls’ have just as much right to say what somebody else doesn’t like as anyone else. Like everyone else, however, they have no right to be taken seriously. In case anyone was wondering, threats of rape, violence or murder are already illegal, so no new anti-trolling laws are necessary. Not only words, but the context in which they are used should determine the credibility or otherwise of any alleged threat.

The rise of the troll has led to the emergence of professional self-appointed ‘troll-hunters’ who seek to track down and punish these people. One recent tragic case concerned Brenda Leyland who killed herself after she was exposed on television as the women who posted a serious of online accusations against the parents of a missing child.

Another threat to internet free-speech emerged after a 2014 European Court of Justice case on ‘the right to be forgotten’. This led to a pianist demanding that the Washington Post take down a three-year-old critical review of one of his concerts and many others seeking to cast stuff about their past into an Orwellian memory hole.

Universities

Two centuries ago, the poet Percy Shelley was banned from Oxford in 1811 for publishing The Necessity of Atheism. Today, universities are all supposed to be about the search for knowledge, truth and free expression; what Disraeli called, ‘a place of light, of liberty and of learning.’ That’s no longer true in the US or in the UK where often students fight for freedom from speech. Berkley University in 1964 was where students founded the Free Speech Movement. By a twist of irony, students at the same university petitioned to ‘disinvite’ the comedian Bill Maher in order that they might feel safe.

Bizarro World has come alive in many universities so that self-professed liberals or radicals are in the forefront of campus censorship campaigns. In recent cases, people have been told that ‘people who do not have uteruses’ have no say on the abortion debate and various speakers have been banned under widening cowardly and reactionary ‘no platform’ rules. Once it was ‘no platform’ for racists and fascists. Now it is ‘no platform for racists, fascists, Islamic extremists, Islamaphobes, rappers, comedians, Israelis, climate-change deniers, Christians, atheists or UKIP members. Hume says that this would be better phrased as ‘no arguments’ as their proponents refuse to countenance any ideas other than their own.

Hume excoriates the use of ‘Safe Space’ and ‘Free Speech Zones’ in many US universities which restrict opinions to the zone and make them off-limits everywhere else and turn the rule into the exception.

Trigger warning migrated from a therapeutic took to help sufferers from Post Traumatic Stress Disorder to many books on the university syllabus and even to things like Downton Abbey. This misuse undermines two freedoms; the right to speak or write what you want or the right to read, listen to, or watch what you want.

Football and comedy

Free speech is for (allegedly) fat and (mostly) white, male, working class football fans too.” In recent years, as money has poured into the game, there has been an attempt to ‘socially cleanse’ football terraces of its working class fan base, ostensibly to make the game more acceptable to the middle classes and ethnic minorities and more ‘family friendly’. While the thought appals many folk, a large part of the appeal of the game is winding up supporters of opposing teams by singing offensive songs. In Scotland, this can get you locked up under draconian legislation which is supposed to outlaw sectarianism. People have even been fined for singing God Save the Queen.

Players find themselves hung out to dry too. John Terry from Chelsea Football Club was found not guilty in court of calling another player, Anton Ferdinand of QPR a ‘fucking black cunt’ but nevertheless was sentenced by the English FA to a huge fine of £220,000 and forced to undergo re-education in etiquette and speech codes because of his ‘racism’. He was cleared in court of any offence but treated as guilty anyway on the grounds that he ought to have been some sort of ‘role model’ to young impressionable football fans. In today’s society, role model rules overcome the principle of presumption of innocence until proven guilty.

Hume mourns the passing of the Jewish-American comedienne Joan Rivers. Loved and hated in equal measure, she never apologised to anyone who claimed to be offended by her acerbic brand of humour. Who, he wonders, will slay all those sacred cows now? The censors once were conservative politicians, policemen and priests. Now protests are led by illiberal liberals in the media, other comedians and activists.

The alternative comedians of the 1980s have created their own alternative comedic conformism. Most recent examples are the comic character ‘Dapper Laughs’, who was killed off by an illiberal liberal lynch mob. Interestingly, the West Belfast Festival, Féile an Phobail, is under pressure from some of the same circles to disinvite the Scottish comedian Frankie Boyle because they disapprove of some of his recent material. Nobody, Hume observes, “is against free speech for comedians. Until, that is, they decide somebody has gone too far in offending their own views and hurting their feelings.”

Many opponents of free speech borrow – and distort – an argument first aired by Judge Oliver Wendell Holmes in an American court in 1919 that people have no right to cry ‘fire’ in a crowded theatre. Holmes said that there was no freedom ‘falsely’ to cry fire in a crowded theatre. His ruling against a US socialist activist assumed that Schenk could be punished after the fact for what he wrote in a leaflet against military conscription in wartime. He didn’t try to prevent its publication beforehand as Gordon Brown’s government did with the controversial Dutch politician Geert Wilders when he was banned from entering the UK in 2009. That was prior constraint and State censorship of an elected representative.

This raises the question, who decides? How can we make an informed decision if we cannot hear what a person has to say? The fire-in-a-theatre argument has generalised from a specific set of circumstances in order to shut down ideas that the offended person doesn’t like and doesn’t want anyone else to hear. Hume offers another quotation from Holmes, made in 1929. “If there is and principle in the Constitution that more imperatively calls for attachment than any other it is the principle of free thought – not free thought for those who agree with us but freedom for the thought we hate.”

Words will always hurt me

We used to recite a wee verse that “sticks and stones will break my bones, but words will never hurt me.” Today that has been turned on its head. Recently, Katy Hopkins – a B List attention-seeking celebrity motor-mouth who has re-invented herself as a professional troll – faced a petition to sack her from her Sun column because of ignorant and stupid comments she made about would-be migrants from North Africa drowning in the Mediterranean Sea. In fact there was more outrage and indignation over her shit-stirring article than there was over the actual deaths of would-be migrants.

Hume blames the rise of what he calls identity politics as a major cause of the modern outbreak of thin-skinnedness. When someone identifies with a particular identity group, they become fixed in it and will not accept any challenge to their worldview. It’s not only you-can’t-say-THAT, but YOU-can’t-say-that! The result of this is that we have privatised blasphemy and virtually criminalised criticism. Identity activists consciously and conspicuously go abroad in search of monsters to destroy. They look for something to be offended by. They stifle public debate by their insistence that speech is policed to protect hurt feelings of the few who claim to have been offended.

Taking offence has become the acceptable face of political censorship today. Of course, anyone is entitled to take offence at anything said or written by someone else but taking offence does not give them any right to take away that other person’s freedom of speech.

Hume attributes one ‘-ism’ as the most powerful factor in this outbreak of self-righteous umbrage – narcissism; I feel superior by my sense of outrage and offence at what these dreadful people are saying. It’s an outrage. It upsets me. It shouldn’t be allowed. The 2008 EU ‘hate-speech’ laws were drafted in order to promote tolerance and equality. One EU commissioner admitted that they were actually intended to “preserve social peace and public order” by protecting the “increasing sensitivities” of “certain individuals” who “have reacted violently to criticism of their religion”.

That went well, didn’t it? Hume argues that the hate-speech laws seem to have inflamed things by sanctioning the notion that offensive speech is a crime that ought to be suppressed or outlawed if it upsets someone, so speaking disrespectfully of Mohammed or of other Islamic symbols deserve punishment. By this reckoning, the murderers of the Charlie Hebdo staff privatised the penalty due for causing such offence. Thomas Jefferson argued that the State should keep out of religious disputes. “It does me no injury for my neighbour to say there are 20 gods on no God. It neither picks my pocket nor breaks my leg.” Today people can be locked up or fined in the UK and Europe for expressing an opinion deemed insulting or offensive to someone else’s religion or identity group. Ask Pastor James McConnell of the Metropolitan Tabernacle in north Belfast, who is awaiting trial for a sermon in which he claimed that Islam was spawned in hell and was of the devil. It looks like the State will be wading into religious disputes in future, if somebody makes a complaint.

Liberals used to campaign for disadvantaged groups to share equality with the rest of us; not special privileges for a self-identified group. Anyone can be and has the right to be offended but not to use that feeling of offence to curtail the rights of the rest of us.

Mind your Ps – Qs – Ns & Ys

Hume recounts a Football Association dinner he attended that was entertained by the black American comedian, Reginald D Hunter, who told amusing stories of how soccer baffled ‘this nigga’. A huge media shitstorm saw Hunter pilloried for racist language and behaviour. The FA’s anti-racism lobby group, Kick it Out now ‘condemns racial slurs, irrespective of context’. According to this idiocy, Hunter calling himself ‘this nigga’ is just as outrageous as a Klansman shouting ‘lynch that nigger’ at him. Fans of Tottenham Hotspur Football Club have similarly found themselves in trouble for calling themselves the ‘Yid Army’.

A similar storm of outrage burst over the head of the award winning actor Benedict Cumberbatch in a January 2015 interview when he referred to ‘coloured actors’. Never mind that he was speaking out against racism. He used a slightly old fashioned term to describe people of colour and was denounced on both sides of the Atlantic for his use of these dreadful words of power. According to the theorists of ‘irrespective of context’ Cumberbatch might as well have gone around whipping slaves and forging new chains for them by reminding their descendants of the bad old days of segregation and slavery. He was forced to make a grovelling apology for his hate-speech.

We are entering a cultural age where people like Hunter, Cumberbatch, the Yid Army or any one of us can be sacked, censured or censored for saying the wrong word, regardless of where they said it or what they meant by it.

Liars and holocaust deniers

Hume describes the recent trend for people who question the dominant view or current orthodoxy to be branded as ‘deniers’. ‘Denier’ is a religious term just as ‘witch’ was in the seventeenth century. To brand someone as a denier alleges a moral failure. That person is not just wrong but has no right to be heard. You don’t debate with deniers; you shut them up or lock them up or burn them. That’s what happened to Michael Servetus who was burnt at the stake in Calvin’s Geneva in 1553. He denied the Trinity. In Scotland, Thomas Aikenhead was hanged in Edinburgh in 1697 for denying the Trinity and the deity of Christ. All questioned the unquestionable and denied the prevailing orthodoxy – the ‘accepted version of truth’. All were regarded as subversive, dangerous and morally debased.

Holocaust denial is now the biggest thoughtcrime in the West. It has become a crime in almost twenty countries in the past two decades since the Holocaust became transformed from a historical event into a pseudo-theological universal symbol of absolute moral evil that must be taught in schools. The best way to deal with such nonsense is not to shut it down by locking up its proponents but to expose its fallacies and errors to the light of day. It”s not as if there’s any shortage of evidence.

Like all heresy hunters, the defenders of orthodoxy don’t just want to silence their opponents but to punish them for their secular blasphemy. Denial is meant to be “a refusal to acknowledge an unacceptable truth or emotion, or to admit it into consciousness.” A ‘denier’ is someone refusing to acknowledge what everyone knows is the undoubted truth, not a sincere doubter but a despicable liar.

Similar terms are now being used to refer to persons who doubt the current orthodoxy on man-made climate change. As the debate is settled and the question closed such doubters should be silenced. This is contrary to the opinion of John Stuart Mill who wrote, “To refuse a hearing to an opinion because they are sure it is false is to assume that their certainty is the same thing as absolute certainty. All silencing of discussion is an assumption of infallibility. That’s for popes, not scientists.”

Elitists believe that the ‘sheeple’ – ordinary people – need to be protected from the media. Their lack of faith in free speech reflects and reinforces their lack of belief in humanity. Hume argues that this is the main reason why there was an official cover-up of the scandal in Rotherham where gangs of Asian men abused white girls with impunity. The story was not suppressed by the authorities for years because it was false but because it was true. Social workers and officials feared accusations of racism and that community tensions would be inflamed if the full truth came out.

Today those who think of themselves as enlightened often demand less free speech and want to restrict press freedom. The puritans of the past look like open-minded humanists compared with today’s misanthropic illiberal liberals.

The right to free speech is not sectional. It has to apply to everyone – no matter how obnoxious – or it becomes undermined for others. Once media freedom is made out to be a problem the ‘solution’ offered is more state intervention and regulation. Orwell wrote that “A genuinely unfashionable opinion is almost never given a fair hearing, either in the popular press or in the highbrow periodicals.”

The crux of Hume’s argument is that free speech is not the problem but that fear of it is. “Without fighting for the heretical right to offend against society’s consensus views and to question the unquestionable orthodoxies of the age, many of the great political, cultural, scientific or artistic breakthroughs that we now take for granted would have been hard to imagine.”

Reverse-Voltaires claim that we will gain is a safer, more civil society where people will have to respect each other. Hume argues that we are all in danger of losing the meanings of words. Rules and codes shift and narrow the terms of debate as Benedict Cumberbatch learned to his cost. In fact, they close down any chance of debate which prohibits any proper discussion on the important issues of the day.

David Kerr

Trigger Warning: Is the Fear of Being Offensive Killing Free Speech? by Mick Hume. William Collins Books ISBN978-0-00-812545-5 £12.99

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Austerity Pleasures

austeritypleasuresVenue: Espionage, Kasabar, Victoria Street
Until 24th August

This free, hour-long lunchtime show features Ben Morgan, Robyn Perkins and Declan Kennedy along with a guest appearance by Eddy Brimson, who was there to give a taster of his own show.


In common with most of the smaller shows at the Fringe, the cast have to turn their hands to publicising the event so as I walked down Victoria Street I was handed a leaflet by Robyn, (who was pleased to hear that I was planning to attend), and having crossed the street to the venue I was shown to the lounge by Ben, where the audience were gathering before the performance room becoming available.

First on was Ben, who made use of an envelope marked ‘EMERGENCY JOKES’ whenever he felt audience attention was flagging, although his act flowed well and his punning went down well with the audience.

Next, Robyn spoke about her transition from coming to the UK from the USA to gaining British Citizenship and the quirks involved in the process.

The third member of the cast was Declan Kennedy, who invoked a bit of audience participation by getting half of the audience to call out “SAY” and the other to call “TON”. Taken together, the audience ended-up calling out something that sounded scarily like “Satan”, which, Declan explained, he hoped would alarm people sitting in the floor above!

In the final minutes of the show, Eddy Brimson gave a preview of his own show “Windy Piss”. Hopefully another member of the Counter Culture team will be able to attend and review Eddy’s show as from the taster we got it sounds well worth a look.

This was the third year that “Austerity Pleasures” has featured at the Fringe and hopefully it will be back again next year. While it was seldom laugh out loud funny, it more than made up for this by having some thoughtful, intelligent observations. The performers were likeable and there seemed to be a good rapport between them and the audience.

Reviewed by Andrew Hunter

 

 

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