Mr Methane meets The Burper King on Japanese TV again & plays toilet videos

The Burper King and Mr Methane preparing at Westminster

Last October, I blogged about the occasion when my chum Mr Methane, the world’s only professional farter, met Guinness world record holder Paul Hunn, ‘The Burper King’.

They were appearing on a Japanese TV show called Sekai no Hate Made Itteq! (Let’s Go to the Ends of the World!) hosted by Japanese comedian Ayako Imoto.

The Japanese were back again for more last month and, at the weekend, they transmitted their piece on Japanese TV (there was an embargo on what was in it until today). Last week, Mr Methane and Paul Hunn told me what happened during the filming. They met at about 10.30 one sunny morning near Westminster Bridge in London…

“Basically,” Paul told me, “we had the chance to ad lib a few. There were lots of people around so there were various looks of disgust and horror apart from the Japanese tourists, who instantly recognised Imoto and seemed very impressed.”

Filming for Japanese TV in a gondola on the London Eye

“Then, obviously,” said Mr Methane, “we did lots of farting and carrying on up in a gondola of the London Eye and then we did a scene where we’re farting and belching in the car going between the different attractions.

“We tried to get into the British Museum but were not allowed. You have to have a Media Pass and they couldn’t get it until the next day – they only allow so many in on each day… At least, that’s what we were told. Maybe they just didn’t like the idea of a man dressed in green farting and a guy belching.

“Then we went to a pub near the Oval and, because Paul’s a world record holder for belching, Imoto looked through a book and found a world record we could all do, which was sorting socks. The record was 17 pairs of socks in a minute into a box and, if we didn’t beat it, we had to eat a raw chilli.”

Paul explained: “I think the record used to be held by a Japanese guy, but he was beaten a while ago. You get 30 pairs of socks, separated and jumbled-up and you have to sort as many as you can into pairs inside a minute.”

Mr Methane went first.

“I only managed 8 pairs,” he told me, “so I had to eat this raw chilli. They were very delighted when I was giving it plenty of like… y’know…  Whooaaa! I’m burning up! and so on… and drinking milk.”

“I managed to sort 9 pairs,” said Paul. “So then I had to eat the chilli. I bit round the edge to avoid the seeds, but I made the fatal error of touching my eyes. As you know, after you eat chillies, you don’t touch your eyes or ‘touch downstairs’. I couldn’t see for about 15 minutes afterwards and I instantly had hiccups as well. I can only think that’s what CS gas feels like – but without the hiccups.”

“How did the Japanese react?” I asked.

“Oh! They loved seeing me in agony!” he said.

After that, our dynamic audio duo went to The Exhibit pub in Balham which has a video game in the urinals.

“There are only two or three of these in this country,” says Paul. “and ten in the world. The guy who runs the pub is the guy who invented it. He was on Dragon’s Den and didn’t get very far with it, but he says the idea has really taken off since the programme.”

“They probably thought he was taking the piss,” I suggested.

Paul did not react.

“There’s a screen above the urinal,” explained Paul, “and a sensor underneath and you pee to operate the game. There are three or four different urinals. There was talk of us using water bottles and pretending to pee, if we couldn’t rise to the occasion with all the film crew around us. But we managed.

“One of the games was a quiz which involved a Yes/No answer, so you aimed either right or left to give your answer.

“Another involved painting a picture. There was a picture and you just aimed your pee all over the place to colour it in…”

“Like water colours?” I asked.

Paul continued doggedly:

“There was another game where penguins came down a ski slope and you had to keep trying to hit them.”

“This is all free?” I asked.

“Yes,” he said. “Obviously, it was quite crowded with all the Japanese film crew in there with the two of us and she’s standing there shouting at us and commentating over the top of it.”

“And these games are in the pub the whole time?” I asked.

“Oh yes,” said Paul.

“So it’s all up and running.” I said.

Paul did not react.

He and Mr Methane are true professionals. Here they are on the previous episode of Sekai no Hate Made Itteq!

How a German hamster almost because a peaktime Saturday night television star in the United Kingdom

I had tea yesterday with the extraordinarily energetic and charismatic Miss Behave aka Amy Misbehaving, who was telling me all about the Edinburgh Fringe show(s) she will be staging in August at the new Assembly venue in George Square.

That’s an extraordinarily anarchic mind she has there and, as they say, staging anarchy takes a lot of organisation.

Something she said reminded me of Vier gegen Willi (Four Against Willi) – a legendary German TV light entertainment series of the late 1980s which was co-presented by a hamster. Willi helped to make decisions throughout the show and, at the climax, he was put in a maze with three exits and, depending on which exit the co-presenting hamster took, the winning family won their prize-money in either German marks or Italian lira or Austrian schillings. Ah! The glorious pre-Euro days!

At one time, the UK ITV contractor London Weekend Television showed interest in buying UK rights to either some of the Vier gegen Willi games or the entire format itself. When I was at LWT, much joy was certainly had by many, looking at tapes of the part-hamster-presented German TV series. However, there was a big drawback to production of the show.

It was that, under the very hot TV studio lights, the furry creature had a tendency to overheat excessively so, for each show, the producers had to have several lookalike hamsters on standby because it was not at all uncommon for the hirsute co-presenter to die in mid-show.

The great German viewing public, as far as I know, was never made aware of this, but it was thought unlikely that the British tabloid press could have been kept in the dark if ITV had run a Saturday peaktime entertainment series co-presented by a hamster in which the hamster often died and had to be replaced by lookalikes.

So, alas, the UK version was never made.

How thinking up a good TV format can make you a millionaire or screw you with a horrendous court case

Last weekend I posted a blog about Mr Methane phoning me from Manchester Airport on his way home from recording a TV show in Denmark. It turned out he wasn’t on his way home. He is still away on his professional travels – farting around the world, some might call it – but he has given me more details of the Danish show he appeared in.

He was brought on stage as Mr Methane and farted in the face of a man whom he had to make laugh within 60 seconds. Mr Methane tells me:

“The show comes out in Denmark in the autumn and is called My Man Can: the ladies bet on what their man will be able to achieve and he has fuck-all idea what’s going on because he is in a glass cylinder listening to Take That or some other shite music that’s being piped in. It’s a bit like a modern day Mr & Mrs with a slightly different twist so Derek Batey doesn’t see them in court.”

It does sound a bit like that to me too and I also thought Derek Batey created the TV gameshow Mr and Mrs but, in fact, it was created by the legendary Canadian TV quiz show uber-creater Roy Ward Dickson

TV formats are big business. I remember the ATV series Blockbusters hosted by Bob Holness (the request “Give me a pee, Bob” was oft-quoted by fans).

It was based on a US format and, in the UK, was networked on ITV from 1983 to 1993. In one period, I think in the late 1980s, it ran every day around teatime Monday to Friday. From memory (and I may be wrong on details) at that time the format creators were getting £5,000 per show and the show was transmitted for six months every year – I think they transmitted for three months, then had three months off air, then transmitted for another three months and so on.

That is serious money in the late 1980s. To save you the calculation, 26 x 6 x £5,000 = £780,000 per year for a format thought up several years before; and the format was also running on US TV and in several other countries around the world and, for all I know, could still be running in several countries around the world 25 years later.

That is why format ownership and copyright is so important. If you have an idea, it can maintain your millionaire status 25 years down the line. Ripping-off formats is an extraordinary phenomenon. You would think, given the amount of money involved, that there would be some workable law against it, but there isn’t. One factor, of course, is that you cannot copyright an idea; you can only copyright a format and there lies the rub that will probably stop you and me becoming millionaires.

My Man Can, for example, is most definitely not a rip-off of Mr and Mrs. The format of My Man Can is that “four women gamble with the abilities their partners possess – and put the men’s courage and skills to the test. She sits at a gambling table and bets her rivals that her man can accomplish certain tasks. He waits helplessly in a soundproof cubicle, waiting to hear the task his wife has accepted on his behalf. Each of the women is given 100 gambling chips which she uses to bet on her partner’s performance in each round of the game.”

The most definitive horror story I know about formats is the scandalous failure of Hughie Green to get the courts’ protection over the format to his Opportunity Knocks talent show.

Green first started Opportunity Knocks as a radio show in 1949. As a TV series, it ran from 1956 to 1978 and was later revived with Bob Monkhouse and Les Dawson presenting 1987-1990.

Hughie Green invented a thing called “the clap-o-meter” which measured the decibel volume of clapping by the studio audience after an act had performed. But the acts were voted-on by viewers and Green’s several catch-phrases included “Tonight, Opportunity Knocks for…” and “Don’t forget to vote-vote-vote. Cos your vote counts.”

The way I remember the copyright problem is that, one day in the 1980s, Hughie Green got a letter from the Inland Revenue asking why, on his tax return, he had not declared his royalties from the New Zealand version of Opportunity Knocks in 1975 and 1978. This was the first time he knew there was a New Zealand version.

It turned out the New Zealand Broadcasting Corporation had transmitted a TV talent show series which not only ran along the same lines as Hughie Green’s show but which was actually titled Opportunity Knocks, had a clap-o-meter to measure audience clapping and used the catchphrases “Tonight, Opportunity Knocks for…” and “Don’t forget to vote-vote-vote. Cos your vote counts.”

Not surprisingly, in 1989, Green sued the New Zealand Broadcasting Corporation for copyright infringement. He lost. He appealed. He lost. My memory is that it ultimately reached the House of Lords in London, sitting as the highest court of appeal in the Commonwealth. He lost. Because all the courts decided that a largely unscripted show which was different every week (which is what a talent show is) with “a loose format defined by catchphrases and accessories” (such as the clap-o-meter) was not copyrightable and “there were no formal scripts and no ‘format bible’ to express the unique elements that made up the show”.

In 2005, Simon Fuller sued Simon Cowell claiming that Cowell’s The X-Factor was a rip-off of Fuller’s own Pop Idol. The case was quickly adjourned and settled out of court within a month. Copyright disputes are not something you want to take to court.

Once upon two times, I interviewed separately the former friends Brian Clemens (main creative force behind The Avengers TV series) and Terry Nation (who created the Daleks for Doctor Who). BBC TV had transmitted a series called Survivors 1975-1977 which Terry Nation had created. Or so he said. Brian Clemens claimed he had told Terry Nation the detailed idea for Survivors several years before and Nation had ripped him off. It destroyed their friendship.

As I say, I interviewed both separately.

I can tell you that both of them absolutely, totally believed they were in the right.

Brian Clemens absolutely 100% believed he had told Terry Nation the format and had been intentionally ripped-off.

Terry Nation absolutely 100% believed that Survivors was his idea.

They fought a case in the High Court in London and, eventually, both abandoned the case because of the astronomically-mounting costs. Neither could afford to fight the case.

There’s a lesson in legal systems here.

Basically, even if you are fairly wealthy, you cannot afford to defend your own copyright. If you are fighting as individuals, the legal fees will crucify you. If  you are foolish enough to fight any large company, they have more money to stretch out legal cases longer with better lawyers than you. They will win. In the case of Hughie Green, even if you are rich and famous, you may be no different from a man who is wearing a blindfold and who, when he takes it off, finds someone is farting in his face.

When BBC TV remade Survivors in 2008, it was said to be “not a remake of the original BBC television series” but “loosely based on the novel of the same name that Nation wrote following the first season of the original series.”

Guess why.

Racism and sexism in television and in comedy

On Thursday, I went to Bethnal Green to see the multi-racial comedy sketch group the United Colours of Comedy at the Oxford House venue. Three were very talented.

On Friday, I met a man who almost appeared on Mastermind on BBC1.

The man told me his specialist subject had been ‘Cricket before 1914’. He had gone through all the preliminary applications and tests and got to the final full-scale dry-run tryout. He triumphed, got the highest points and won it. The tryout, that is. A few days later, he received a phone call which told him he would not be on the actual televised Mastermind show because he mumbled. This sounds like a bad TV producer to me: you can direct people so they don’t mumble.

But the point is that a few months later this failed Mastermind contestant was talking to a lawyer friend he knows in Birmingham. The lawyer had handled the case of another potential Mastermind contestant who had been similarly rejected. She, too, had won her dry-run tryout. She had been very nervous and had been rejected – she was told – because, in her nervousness, she had waved her hands about a lot and been overly ‘twitchy’, which was very visually distracting. However, this failed contestant was black and she believed she had been rejected because of racial discrimination by the BBC. She unsuccessfully searched around  for a lawyer to handle her case. All refused until, eventually, she found this one in Birmingham. The claims and lawyers’ letters dragged on for months and, as my chum later heard it, in order to avoid a public court case, the BBC paid the woman a “substantial” out-of-court settlement.

I don’t believe it was racial discrimination. The real truth, in my experience, is that usually TV companies and producers fall over themselves to try to get non-white faces on screen.

I remember a production meeting for the Birmingham-based ITV children’s series Tiswas in which the then producer Glyn Edwards said he was uncomfortable because every Saturday morning – and this is in a city in the West Midlands, an area with a wide ethnic mix – the studio audience was a sea of totally white faces. I was delegated to get non-white children to apply to be in the audience, which I did by approaching regional and national ethnic newspapers and groups; but it was a fairly slow process.

Later, I worked on the long-forgotten BBC TV series Joker in the Pack in which the absolutely wonderful Marti Caine, at the time in remission from the cancer which later killed her, was dragged round the country to listen to groups of ‘ordinary’ people telling jokes in their workplace and in social groups. At the start of pre-production, I asked the producer if he wanted to specifically approach ethnic groups to get a mix of white/black/Asian faces on screen. He said, “Oh, it’ll happen naturally.”

“No it won’t,” I told him and it didn’t. Halfway through recording the series he suddenly asked for non-white faces on-screen and it was not something that could be arranged quickly, because non-white faces then as now tend not to apply to appear on TV shows; you have to find them and/or publicise in the ethnic media – both of which take time. The potential punters don’t see many non-white faces as TV contestants nor in on-screen audiences, so they don’t automatically apply.

The same thing seems to happen in comedy clubs, certainly in London. The audiences are mostly 100% white faces. Why? Presumably because anyone who goes to comedy clubs sees almost 100% white audiences and that non-racial-mix is self-regenerating.

Small comedy clubs can do little about this although they should perhaps try. On TV shows however, in my experience, producers do actively want non-white faces which reflect the UK population (although they are often too lazy or too tardy to do anything about it). And this can also be a problem where women are concerned. There are, for example, not enough female comedians on TV. But thereby hangs the potemtial problem of being too desperate.

And that brings us to Michael McIntyre’s Comedy Roadshow on BBC1, which records in different cities around the UK and has very few women and very few non-white comics appearing on it. Which is where good intentions have turned into bad practice.

One black female comic bombed so badly during the recording for an edition of Michael McIntyre’s Comedy Roadshow in one city that the producers had to drop her from the televised show but allowed her to perform again in a subsequent recording in a second city so that she could be transmitted in the series. Whether this was because she was black or a woman or both I don’t know. I suspect it was because she was a black woman. But I have also been told two other English female comics who initially bombed during recordings for Michael McIntyre’s Comedy Roadshow were also re-recorded in a second city a second time (one was even booked to record a third time in a third city) to try to capture any acceptably successful comedy performance. This is not something I have heard being done for white male comics.

It says several things to me, one of which is that you can take PC too far – if they can’t be funny the first time, drop ‘em – and the other is that the producers of Michael McIntyre’s Comedy Roadshow have, in the past, been choosing the wrong female comics to appear. There are good female comics working out there.

For another view on what it’s like to be a female comic, read Janey Godley’s blog “A weird thing happened at the gig” about performing at a comedy club in Glasgow last Friday. The Daily Telegraph has quite rightly called Janey “the most outspoken female stand-up in Britain… The most ribald and refreshing comedy talent to have risen from the slums of Glasgow since Billy Connolly”. Inevitably, she has never been asked to appear on Michael McIntyre’s Comedy Roadshow.

Life.

Tell me about it.