Steve Best is Britain’s Clowntographer

Last year, comic/photographer Steve Best published Comedians, an extraordinarily classy collection of his photos of, you guessed it, comedians.

Now he is about to publish a sequel – Comedians 2.

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Steve Best’s classy book Comedians…

STEVE: What I wanted to do with the first book was to get a lovely product out and to not lose money. It has made a bit of profit.

But the print cost of the new one has gone up because the cost of the paper has increased. It has gone up massively, like everything else.

But I want to publish it.

JOHN: Why?

STEVE: You want to leave something behind after you’ve gone. I want the book to be the best possible book I can do. It’s printed at EBS in Italy (Editoriale Bortolazzi Stei), the best fine art printers in the world.

JOHN: So what’s the difference between the first and second books?

STEVE: Well the first one got my name out there as a photographer and I got a lot of work on the back of it. There’s this big project that might be coming up soon.

JOHN: You have an ‘in’ with comedians because you are one of them. You are a comic AND a photographer.

STEVE: Yes, it gives me access and also I’ve grown in confidence. Now I’ve got to position myself – not to be aloof but – to be seen as a photographer rather than a comedian with a camera.

JOHN: The National Portrait Gallery has just re-opened…

STEVE: The Art world is really difficult to understand and break into. And there’s a difference between fine art photography and documentary photography. My biggest hurdle now is to convince the Art world that what I do is of some artistic merit.

Some of the photographic galleries are now saying to me These are great photos rather than Oh, you’re just a comedian who does a bit of photography.

JOHN: I love your photo of Johnny Vegas sitting in the middle, with Michael Redmond on the left and Dave Johns on the right. Three totally different characters in one shot.

Comics Michael Redmond, Johnny Vegas and Dave Johns in Comedians

STEVE: That was one of the first photos I took (2015) and it started me thinking There’s something in this.

JOHN: If photography became suddenly very, very financially successful, would you give up comedy performing?

STEVE: Until about six or seven years ago, I… well I… well, there’s another article to be written about what happened to the comedy circuit…

JOHN: What happened to the comedy circuit?

STEVE: Twenty years ago, the money was even better than it is now and you could earn a pretty good living by just being a good stand-up.

JOHN: So what happened six or seven years ago?

STEVE: Well, you know, Jongleurs fell apart, but the money hadn’t really gone up much anyway. Jongleurs had been paying just as well seven years before that. They were paying you to perform and they were also paying a hotel in advance and then it started slowly changing – you had to stomp up the money in advance and they’d pay you back and then they stopped paying. I wasn’t owed any money when Jongleurs went down.

I had a really strong 20-25 minute set I used to take round then but I feel I’m much more creative now with what I’m doing with the photography… because everything IS so different each time.

The very visual Steve Best: “What am I doing it for?”

You think… If I do a gig for £150 down in Sussex, I could instead do a shoot in my little studio – a portrait – and be at home… So what am I doing going down to Sussex and performing much the same material again? What am I doing it for?

JOHN: Surely every comedy gig is different because of the punters?

STEVE: Well, unless you are a really, really prolific writer, the act kind of stays the same. I’m not learning. Why would I carry on doing that? I’m not an observational comic; my act is one-liner jokes and visual routines. It doesn’t interest me as much as it used to.

JOHN: Are you getting into a niche of only photographing comedians, though?

STEVE: Well, it’s documentary photography. Because of my website and that first Comedians book, I was flown out to Zurich last week for a big pharmaceutical company – I was going up and down glaciers documenting the width and doing various photoshoots of people. Hopefully that sort of thing is the future.

JOHN: People say glaciers have a limited future.

STEVE: But then there’s that big project I was telling you about that will hopefully happen. I would be part of a new music school in London.  I would be a creative director with a proper studio to kit out so I can take portraits of all the musicians and tour with them when they get good.

It could be the next step for me because I could still do my other comedy projects but also get into the music world as well. It could be really exciting.

JOHN: Have your children shown any interest in performing?

STEVE: My daughter is REALLY good on the violin. My son is on the piano; he’s a funny guy but quite shy, like me. I don’t think either of them will go into being performers. Their mum is a proper scientist so would want them to get a ‘proper’ job. She is Associate Professor of Linguistics at University College London.

JOHN: Your father was a mathematician.

Steve Best in Leicester Square, London

STEVE: Strangely, he was also into Amateur Dramatics. He was quite strait-laced. My mum was the ‘mad artist’. I was really good at maths in school. I did my O Level a year early and got an A grade. I was going to go on to do Maths at A level, but then I got obsessed by performing magic… In the end, my A Levels were Music, Art and French. I really loved Maths. But I went to a real rough comprehensive school and they weren’t really pushing me. Nor my parents.

My parents sort of said: “Well, if you want to do magic, go and do magic.”

And before going to school, I used to practise juggling.

JOHN: More than three items?

STEVE: Five.

JOHN: For how long?

STEVE: About a minute.

JOHN: Bloody hell. I’m impressed. Someone explained to me that juggling five items is three times as difficult as juggling three.

STEVE: Y-e-e-e-s…

JOHN: I don’t understand how your maths brain links up with comedy performance and photography.

STEVE: I think maths helps with everything else: art and everything.

JOHN: I was useless at science: anything where you had to remember X = Y. 

STEVE: I was fascinated by that. I loved the idea of memorising. I tried to memorise a pack of cards in a certain stack. Pictures and numbers; there are ways of doing it. I loved the Rubik’s Cube. I learnt the Rubik’s Cube when I was young.

JOHN: Malcolm Hardee used to say he was never impressed by juggling or mime because they were skills. With enough practice, almost anybody can become good. Whereas comedy is a talent. You can get better with practice but only to a certain extent; to be superb, you need to have some innate talent. 

With photography, too, you have to learn certain technical aspects, but you also maybe need some form of innate talent?

STEVE: Yes, I think with comedy and photography you do have to have something innately – and also it’s about timing. There are all these comedy courses and you can teach comedy and you can learn technique, but it doesn’t mean you are going to be funny.

JOHN: Do you absolutely need to know the technicalities in photography? Is it like movies? Objectively, The Blair Witch Project (which I have not seen) is technically bad but works emotionally. Is it possible to take a technically bad photograph that works?

STEVE: I think technically you do have to learn – how the shutter works; how the aperture works; how to control the light that comes into the sensor. But there’s a photograph of Julian Clary and Paul Thorne passing each other in my first Comedians book. Technically, it’s not brilliant because it’s a bit out of focus but the actual timing is brilliant because they are looking at each other for that split second. So it’s a good photo.

Eye eye – Paul Thorne and Julian Clary in Comedians

JOHN: That’s it. We’re finished. 38 minutes. I have to transcribe all this. 

STEVE: Where are you off to now?

JOHN: I’m meeting the Fabulous Flying Haidrani Twins… Identical twins.

STEVE: You know I’m a twin? Not identical.

JOHN: Now you tell me! After 38 minutes! What does your twin do?

STEVE: He’s a teacher down in Portishead, near Bristol. He teaches Art, including Photography, up to A-Level. Though he doesn’t really take photos. He is into Art. And he’s also a karate teacher. He’s very funny off-stage but never took it onstage. Whereas I was very quiet off-stage but went on-stage. 

JOHN: Not identical twins, then…

STEVE: What do the Fabulous Flying Haidrani Twins do?

JOHN: Well, separately, they each used to be multi-award-winning journalists. Now they go on extraordinarily exotic and almost incredibly gossip-worthy holidays. But they never write about them. It’s a great loss. However successful your photography becomes, you should never give up your live comedy performances.

My Comedy Taste. Part 3: Stand-ups vs jugglers. Skill is not the same as talent.

I posted Part 1 and Part 2 the last couple of days, so …here is Part 3 – the penultimate part – of a conversation in London’s Soho Theatre Bar back in the mists of 2017 in which comedy festival judge and linguistic advisor Louisette Stodel asked me about my taste in comedy. I continue to talk less than fluently through my own anal passage…

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LOUISETTE: So you admire skilled and talented people…

JOHN: Yes, but skill and talent are not the same thing. Malcolm Hardee – the highly-regarded British comedian, philosopher and nudist – always used to say he didn’t like mime or juggling, because they are skills not talents and “a tragic waste of time”.

If an average person practises for 12 hours a day for 5 years, they could probably become an excellent mime or an excellent juggler. But, if they practise endlessly trying to be a good comedian, they would not necessarily end up an even average comedian because there is some innate talent required to be a good comedian.

If you have two good jugglers or mimes, they can probably be as effective doing each other’s routines.

If you have two good comedians, even if they deliver the lines with exactly the same intonation and pauses, they very possibly cannot be as effective doing each other’s material.

LOUISETTE: Because there is something in the person…

Tommy: often copied; never bettered

JOHN: Yes. Though it depends on the jokes a little. People CAN do Tommy Cooper jokes and impressions quite successfully because the jokes are very short and simple and the timing is built-in to his very specific style of delivery. But I have seen people steal short, snappy, very funny Milton Jones jokes and they can’t deliver them as effectively as he does.

LOUISETTE: Some funny people are born writers and some are born performers.

JOHN: In days of yore, you didn’t write your own jokes; you bought them. Bob Monkhouse and Denis Goodwin used to write for Bob Hope. Well, that still happens, of course. (Famous comedian A) has a scriptwriter. And (Famous comedian B) buys loads of gags. I know the guy who writes for (Famous comedian A) and he was watching some TV panel show recently and one of his jokes from a few years before turned up. Which was fine; he had been paid for it.

LOUISETTE: Bob Monkhouse was brilliant. But would you have paid to go and see him? You said earlier that you would not pay to see Michael McIntyre because he was too professional for you.

JOHN: Interestingly, I WOULD have gone to see Bob Monkhouse and I have no idea why… I… I dunno. He was the Michael McIntyre of his time and he would have been the same every night.

LOUISETTE: He was a different comedian to McIntyre with a different relationship to the audience.

JOHN: I suppose the attraction of Monkhouse was that you could throw any subject at him and, off the top of his head, he would have six or ten cracking good jokes about it. No tricks. He was just like a joke encyclopaedia.

As a kid, I never rated Ted Ray – who was a generation before Monkhouse but had that same encyclopaedic joke ability. But maybe that’s because I was just a kid. Maybe if I saw him now I would appreciate his ability more. Though, to me, he never had Monkhouse’s charisma.

Bob: “He just really was hyper-sensitive”

Monkhouse had a terrible public reputation for being smarmy and insincere – largely from his stint presenting The Golden Shot – but I don’t think he was. He just really was hyper-sensitive. I only encountered him once. We had him on Tiswas and he famously liked slapstick: he had acres of slapstick films and idolised the great slapstick performers but, when he agreed to do Tiswas, the one thing he specified up-front was: “You can’t shove a custard pie in my face.” No-one had any idea why.

The pies were made of highly-whipped shaving foam, not custard, so they wiped off without damage or stickiness, but he wouldn’t have it. No problem. He said it up-front. No problem, but very strange.

LOUISETTE: You like the encyclopaedic part of Monkhouse and his ability to tell pre-prepared jokes well. But what about, at the other end of the spectrum, Johnny Vegas? He appeals to your love of more anarchic things?

JOHN: Malcolm Hardee phoned me up one Sunday afternoon and said: “You gotta come down to Up The Creek tonight to see this new comedian Johnny Vegas. You and me will love him but the audience might not.” No-one had ever heard of Johnny Vegas, then. 

I went and saw him that night and Malcolm and I loved him and the audience loved him. You could feel the adrenaline in the air. You had no idea what he was going to say or do next and I don’t think he did either. I remember him clambering through and over the audience in the middle of his act for no logical reason.

Hardee called Johnny Vegas “a genius”

He had no vastly detailed act. He just reacted to the audience’s reactions to what he did. Utterly brilliant. I said to Malcolm: “He’s never going to be a success, because he can’t do 2-minute jokes on TV and repeat them word-for-word and action-for-action in rehearsals, camera rehearsals, dress rehearsals and recordings.”

And I was wrong, of course. He HAS become very successful on TV. But not really as a comic. He made it as a personality – on panel shows where he could push the personality angle.

There was amazing adrenaline in the air that night at Up The Creek. You can feel adrenaline in a live show. But you can’t feel it through a TV screen.

A few years later, I saw Johnny Vegas perform an hour-long show at the Edinburgh Fringe and Malcolm had seen the show for maybe seven nights before that – every night. And Malcolm used the word “genius” about Johnny and I said: “You almost never ever use that word about anyone,” and he said, “Every time I’ve seen this show in the last seven days, it’s been a totally different show.”

Not just slightly different. A 100% totally different show.

Janey Godley is interesting in that respect because you know the story of her NOT being nominated for the Perrier Award at the Edinburgh Fringe?

LOUISETTE: No. Tell me.

… CONTINUED HERE …

25 Years of Shooting Comedians and the recent new devaluation of artistic talent

Rich Hardcastle has photographed comedians for 25 years.

Now he has a Kickstarter campaign to publish a large-format coffee-table book of 110 extraordinary photos and text: 25 Years of Shooting Comedians. Ricky Gervais has written a foreword for it and says: “Rich has a way of making even a rainy day spent standing in a muddy field look glamorous and important.”

Fellow photographer Idil Sukan recently wrote on Facebook about Rich Hardcastle:

“His photos of comedians are completely amazing. His work was the only reason I thought there was hope for the industry instead of just wacky head scratching photos of needy boys wearing red shirts. His photos are beautiful and touching and always stand out, always.

“He, like all of us comedy photographers, has done so much work under such high pressure circumstances, not always been paid at full rates, been messed around by producers, but regardless, consistently, always produced incredible work that supported comedians, sold tickets, made fans happy. The comedy photography industry really only opened up because of him, because he was taking risks and doing things differently.”

Rob Brydon and Steve Coogan (Photograph: Rich Hardcastle)

Some comedians are in the National Portrait Gallery because of Rich Hardcastle – Rob Brydon, Steve Coogan, Phill Jupitus et al.

“25 years as a photographer,” I said to Rich when we met. “Ever since you were at Edinburgh College of Art. So you had decided back then you wanted to be a professional photographer?”

“Well, I wanted to photograph rock stars and celebrities. I wanted to do Terry O’Neill type shots: beautifully-framed shots showing the real person behind the facade. This was back in the day when celebrity meant something.”

“But you didn’t,” I asked, “want to be an ad agency photographer shooting pack shots and well-lit plates of food?”

“No. though I’d love to be in advertising now, because of the money…”

“Of course,” I said.

“Though there is not,” he added, “as much as there used to be.”

“There isn’t?” I asked.

“No. There’s no real money in photography. In terms of me in comedy, I think I’m the Ramones. I’ve influenced loads of people. I started something, but I haven’t made any money from it and I don’t even have the revenue from T-shirt sales.”

“So why, 25 years ago,” I asked, “did you start shooting comedians and not rock stars?”

“They were there, they were easy to get to and I liked comedy. I love the comedy industry. They’ve been very good to me and a lot of my success has been through things that happened in the comedy industry.”

“Why a book now?” I asked.

Director Terry Gilliam, as photographed by Rich Hardcastle

“25 years. I was there for 25 years, documenting that world opening up. I want it to be a big, beautiful, important book. It’s a snapshot of a generation of British comedy.”

“Surely anyone,” I prompted, “can photograph comedians? You just get them to open their mouths and wave their hands about in a zany way.”

“But I wanted to photograph them like rock stars,” explained Rich. “To try to make them look cool.”

“So what did you decide to do instead of wacky comedy shots?”

“Photograph them like I would a musician or a movie star. Nice, cool portraits of people who happen to be comedians.”

“There must have been,” I suggested, “no money in photographing people who were, at that time, relative nonentities.”

“I was an art student when I started (in the early 1990s); then I started photographing other things – editorial stuff like GQ; but I kept photographing comedians – maybe 90% was not commissioned. I did it because I was interested. No, there was not really any money in it.”

“There’s little money in anything creative now,” I said. “It started with music being free, then books, then videos. People expect all the creative stuff to be free or dirt cheap.”

Greg Davies (Photo by Rich Hardcastle)

“I used to do posters for the Edinburgh Fringe Festival,”  said Rich. “The greatest thing was when people would steal the posters because they were such lovely images. It changed around the time digital cameras took off and people were using almost snapshot photos of themselves. Russell Howard had a poster which was just him standing in a Vietnamese street market or sitting on a wall or something, obviously when he was on tour.

“Things changed around then. It looked like a bit of a movement, but it wasn’t. It was just someone’s tour manager taking a photo and thinking: Oh, we don’t have to pay a photographer to do this and you can take like 3,000 on one card – so one of ‘em’s going to be good. Phil Nichols said to me: The problem is what you do is now considered ‘Art’ and people now baulk at the idea of having to pay someone to come up with a concept and shoot it.”

I suggested: “Maybe all creative things are undervalued now. Everyone thinks they can write novels because they can type on their computer and self-publish a paperback book. And anyone can take a free photograph now because they have a smartphone.”

“This is the thing,” said Rich, “you can take 6,000 photos on your phone and print one up that might look good. But I can do it with one shot.”

“Everyone thinks they can be an artist,” I said.

“Yes,” Rich agreed. “The creative arts have been de-valued.”

“To create a music album,” I said, “you used to have to rent Abbey Road Studios for a month and pay George Martin to produce it. Now I can record something for free on GarageBand on my iPhone and upload it onto iTunes for people to hear worldwide.”

“In a way, though,” said Rich, “it’s quite nice because bands are finding the only way they can make money is to play live, which is what they are supposed to do and sort-of great. Rather than a manufactured pop band who have never actually played live selling out the O2…”

“But then,” I said, “anyone can write a novel, self-publish it and call themselves a novelist…”

“…And that devalues the word ‘novelist’,” agreed Rich. “Brooklyn Beckham is a ‘photographer’ and has a book out and a show.”

“Have you seen it and do you want to be quoted?” I asked.

Rich Hardcastle (Photo by Sarah M Lee)

“I actually feel a bit sorry for him,” said Rich, “because, if he’s serious about wanting to be a photographer and he actually develops any talent over the years, then that’s fucked him. That book and that whole launch has fucked his career because people are going to think he’s a joke and real, creative people are not going to want to be associated with him. Which is a real shame.

“It’s like the Australian actor Guy Pearce. It has taken a long, long time for people to forget he was in Neighbours. Now it’s ‘Guy Pearce, Hollywood actor’ whereas, at the start of his career, it was ‘that guy who used to be in Neighbours’.”

“Malcolm Hardee,” I told Rich, “used to say that any normal person who practises juggling for 10 hours a day, every day, for 3 years, can become a very good juggler. Because it’s a skill not a talent, but…”

“That’s what I hate about jugglers,” said Rich. “I think: You’re doing the same thing that every other juggler does. Yes, you are standing on a chair and the things you’re juggling are on fire, but you are still just juggling.”

“But,” I continued, “Malcolm said, without talent, you could practise forever and never became a great comedian because performing comedy has a large element of talent involved; it’s not just a skill… It’s the same with photography, I think. To be a great photographer, you need talent not just skill. It’s an art.”

“Yes,” said Rich. “You can take 3,000 photos on a camera and call yourself a photographer, but you are not. You’re just like a monkey taking 6,000 photos and one of them could be a good composition by accident.”

Stewart Lee, photographed by Rich Hardcastle

You want to be a comic? You do what?

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Occasionally, people ask me for advice.

Proof, if proof were needed, that people are not always sensible.

This morning, I got a message from someone I know who has been engaged in various big projects for a while.

He told me:

Now I finally have the time to work on my own comedy material. Do you think this is worth doing? I don’t mind spending money to invest in my career. Do you think this comedy course is worth doing?

He named a particular course. I am dubious about the effectiveness of all comedy courses, especially this one, but suggested another which I had heard good things about.

The late Malcolm Hardee always said he thought mime was a tragic waste of time and juggling was a skill not a talent. I tend to agree with him.

Mime is almost always a tragic waste of time.

And juggling is a skill.

Almost anyone with normal abilities could practise five hours a day every day for five years and become a competent or good juggler.

But someone who practised being a comedian five hours a day every day for five years would not necessarily become a competent or good comedian.

Because performing comedy is not a skill; it is a talent. You do need skill and you can learn that but you also vitally need a certain almost indefinable something to become good at it. Hard work is not enough (though it can help if you have the basic talent).

But, even if you become a good comedian, you may not succeed. My advice this morning was:

The truth is that there are hundreds of perfectly good, competent comedians playing the circuit – all equally good, all equally effective at their job. But standing out amid this throng is another matter.

Find a USP, a Unique Selling Proposition. It will perk up audiences and bookers.

I cannot begin to tell you how much my soul has been sapped by the endless shows I have sat through with a bill of five competent 20-something white men talking about wanking and/or watching pornography.

Even if they were talking about something else and one was a West Indian Swede with a beard and a tattoo on his left elbow, it is just the same thing visually over and over again with an entirely competent performer delivering an entirely competent act while standing at a microphone.

Pacing backwards and forwards can make it worse.

Also, never create an act that involves having to carry a heavy prop or instrument around. A comic tuba player would get booked but would die from exhaustion carrying it to and from gigs. How Jim Tavaré ever succeeded with his double bass without having a heart attack is beyond me.

The reaction to my advice this morning was:

I cannot contain my desire to improvise and do voices so it would always be different. I’m gonna try to suss out where best to make my first tentative and anonymous steps into the world. My not very original idea being to see what works and what doesn’t in a live context. I also wanna see as much live comedy by unknowns such as me to size up the scene. It’s a new world for me but now I can throw myself into it fully.

He is charismatic and talented and has some savings in the bank. I just hope that is enough.

Tablecloth maestro Mat Ricardo on comedy club barriers & juggling dogs

My eternally-un-named friend with Mat Ricardo, March 2012

I first blogged about Mat Ricardo in February 2011 after I saw him do the impossible at Pull The Other One comedy club.

He performed the standard routine of pulling a tablecloth out from under real crockery…

But then, after a pause, he whipped the tablecloth back ONto the table UNDER the crockery. Since then, I have been a fan. His act is faultless; his patter is perfect.

Since February this year, he has been performing monthly shows – Mat Ricardo’s London Varieties with a full bill of genuinely top acts at the Leicester Square Theatre. He later uploads the full shows onto Vimeo.

“The viewing public have always enjoyed Variety,” said Mat. “It’s just that it’s seen as unfashionable by people who make TV shows and fund big theatre shows. It just got taken away from them. When Variety died – when the music halls closed – Variety performers didn’t stop doing what they do. They just did it in other places – Butlins Holiday Camps or the end-of-the-pier or working men’s clubs or cruise ships or on the streets like me. I earned a living for 20-odd years before the supposed cabaret resurgence happened. For a good 15 years, the majority of my income came from street performing. I’ve worked Butlins, shopping centres, festivals, cruise ships, everywhere.”

“I’m always surprised you were a street performer,” I said. “I always think of you as more classy Monte Carlo and Paul Daniels Show…”

“When I was a street performer, that was my gimmick,” said Mat. “I wore a smart suit.

“I’m not a real street performer any more in that I don’t need to do it for money in the hat, but I do love it and, if you don’t have to do it, then it becomes more enjoyable. Occasionally, I’m lucky enough to be invited to street performing festivals. Over the last couple of years, I’ve done Christchurch, New Zealand; Fremantle, Australia; the Landshut Festival in Austria – also on that gig was The Boy With Tape On His Face…”

“Was he street?” I asked.

“Yes,” said Mat. “Not doing that character. He did a stunt show. There was also the great Portuguese clown Pedro Tochas who mainly works theatres now.”

Mat Ricardo yesterday outside the Hippodrome

“And, after you finish talking to me,” I prompted, “you’re playing the Hippodrome casino in the West End.”

“Yes, the Hippodrome’s great,” enthused Mat, “because it’s got such history. It was The Talk of The Town, it was Judy Garland’s last show. You go backstage and there’s all these old programmes framed on the wall. Everyone has worked there and you feel it when you go on stage. I’m lucky enough to have played a few of the key Variety venues in this country. I’ve played the London Palladium and Leeds City Varieties and all these places you walk on and you can feel it.

“I played Leeds City Varieties a couple of months ago and you walk on that stage, you look into the spotlight and you’re seeing the exact same thing that Harry Houdini saw. That’s amazing. These venues have been refurbished, but they haven’t changed: the shape you see from the stage is still the same; the only thing that’s different is I’ve got a slightly more modern suit on.”

“The gentleman juggler,” I said.

“I consider myself as much a comedian as a juggler,” Mat told me. “And being a juggler is still seen as unfashionable. If you call a comedy club and say you’re a juggler, there’s a little pause while they giggle.

Mat Ricardo – the gentleman juggler of comedy

“I’ve got a few goals left. I’d like to get booked consistently at a high level in comedy clubs. They don’t book jugglers. The people who book the good big comedy clubs where there’s some prestige and some money think their audiences will only watch straight stand-up. They’ll occasionally book a magician who is basically a stand-up with a few tricks or occasionally a stand-up who might do a ukelele song. But it’s still quite a challenge for someone like me to get booked into those clubs. I’d like to crack that just out of sheer bloodymindedness.”

“Club owner Malcolm Hardee,” I ventured, “used to say he didn’t respect jugglers as much as comics because juggling was a skill not a talent: with enough practice, anyone could be a juggler.”

“Well,” replied Mat, “I have to tell you Malcolm Hardee saw me perform on the street in Greenwich in the early 1990s and he gave me money. So he was lying. He did like my show at least.”

“For Malcolm to give anyone money,” I said, “was a miracle and, indeed, a massive sign of deep respect,”

“He gave me a quid,” said Mat. “I remember thinking I know who you are… But that’s what you get. People say Oh, I don’t want to go see a juggler. But then, if you take them to see an act like mine – and I’m not the only one – they’ll love it.”

“You did the tablecloth act in a TV ad for Unum Insurance,” I said. “that must have given you good exposure.”

“It got me an appearance on the Jonathan Ross TV show,” Mat said, “because Jonathan saw the ad and apparently put my name into YouTube, spent an afternoon watching all my stuff and said We gotta book this guy! That’s the great thing about the internet. I didn’t need a manager to leverage me onto TV: I just had to do interesting work and upload it.

“And also Unum Insurance booked me for a bunch of their annual meetings and parties and funded the current London Varieties shows – so they’re paying everyone’s wages including mine. I couldn’t put this show on without their support. Everyone’s getting paid and getting paid well. If I book Paul Daniels, as I did last month, who is a legitimate legend, I wanna make sure he gets paid well. I pay my acts well because I expect to get paid well myself. This is a childhood dream: to have my own variety show in the West End.”

This week’s billing for Mat Ricardo’s London Varieties

“And you set yourself a new juggling challenge each month,” I said. “Last month, I saw you juggle three cordless electric carving knives when they were switched on.”

“That was genuinely very dangerous to learn,” said Mat. “My wife Lesley did not like it.”

“And you are juggling spaghetti at the increasingly prestigious Malcolm Hardee Awards Show in Edinburgh this August?” I reassured myself.

“Indeed,” said Mat. “And for the last London Varieties show this year on 24th July, I think I might invite the audience to… it’s an old Variety gag – The Flying Karamazov Brothers revived it in the 1970s but it was an old routine before that – You get the audience to bring objects to your show – anything bigger than a grape and smaller than a breadbox. The audience then selects three of the objects and you have to juggle them. I can make two adjustments, then I have to juggle the three objects for ten throws or I get a pie in the face. There is one thing you can bring along which could screw it up – a water-filled balloon. That’s just impossible and I might disallow it.”

“I’m going to bring along a hedgehog,” I said.

“Well, on the London Varieties show this Thursday,” said Mat, I will be doing a juggling trick with a live dog.”

“What breed?” I asked.

Piff The Magic Dragon with Piffles, soon to be ‘tableclothed’

“Chihuahua… Piff The Magic Dragon is on the show on Thursday and has this dog, Mr Piffles, which is a chihuahua in a dragon suit. I might or might not juggle him, but I’m certainly going to put him on the table, pull the tablecloth from under him and put the tablecloth back on.”

“What if a prominent American act thought of stealing your tablecloth routine?” I asked.

“Well,” said Mat. “you can copyright an act of choreography which, technically, is what it is and all you have to do is say I copyright it, which I’ve just said. But you can waste your life trying to sue somebody and you don’t want to sue a millionaire. I did create both the effect and the technique and people know that.”

“And people have seen it and it’s on YouTube with dates,” I said.

“It’s not like writing a gag,” said Mat. “A comedian can sit down and write some jokes and just do them. I have to sit down, write something, then go off and practice it for a year.”

“How long did it take you to perfect the tablecloth routine?” I asked.

“It took me a couple of years before it pretty much worked every single time. I smashed a lot of crockery.”

“Difficult to top,” I said.

“I have a way to top it,” said Mat.

“No!” I said.

And then he told me what it was.

“Fuck me,” I said. “Jesus Christ…. Now THAT would be AMAZING…”

The Malcolm Hardee Comedy Awards Show gets thrown together – much like spaghetti – at the Edinburgh Fringe

The Awards Show poster at the 2012 Fringe

I always tell people that staging the annual two-hour Malcolm Hardee Comedy Awards Show at the Edinburgh Fringe is a win-win situation.

If the show goes smoothly, that is good.

If the show turns a bit shambolic, then it is a true tribute to Malcolm and just as good.

The trick is really to book a good MC. Last year I struck gold with the excellent Miss Behave, who was and is on the right wavelength of Bizarre and knows all the best odd acts. This allowed the show to comprise even more speciality acts and less straight stand-ups. I hope she will present the Awards Show again this year but her availability is still uncertain – as is always the case with all acts at the Fringe.

I am not going to approach most acts until after the Fringe Programme is published on May 30th and I know who is actually in town, but I have some building blocks.

Last year, we had a very successful celebrity Russian Egg Roulette contest – instead of holding guns to the head, two people face each other across a table and smash hard-boiled eggs on their foreheads BUT one of the eggs is not hard-boiled – it is raw. The result is messy and that person loses.

Last year, contestants included comedians Richard Herring and Arthur Smith as well as eventual winner Lewis Schaffer.

This year, the World Egg Throwing Federation’s esteemed president Andy Dunlop will again be supervising a contest and has agreed our event will be the official Scottish Russian Egg Roulette Championship.

I feel honoured and humbled. And somewhat soiled.

Even British Mensa member Noel Burger had trouble juggling spaghetti in Edinburgh in 2011

The two-hour Awards Show will also (I hope) include the return of uncooked spaghetti juggling.

Several Fringe performers and passers-by tried this a couple of years ago outside the Beehive Inn in Edinburgh’s Grassmarket. The only one who managed it truly successfully was juggler supreme Mat Ricardo who (unless he gets a better offer) will recreate his triumph on the show.

It is also likely that the farter of Alternative Comedy, the world’s only performing professional flatulist Mr Methane (after a run of his own show earlier in the Fringe), will make a special trip back up to Edinburgh to perform on the Comedy Awards Show.

As for publicity, I will be hosting five daily chat shows in the week of the Awards Show, titled Aaaaaaaaaaaaarrghhh! So It Goes – John Fleming’s Comedy Blog Chat Show. Book early to avoid disappointment – it’s only a fiver.

Malcolm Hardee pioneered the use of Aaaaaaaaaaaaarrghhh! in Fringe show titles as a way to get first listing in the Fringe Programme. One can but pray no-one else has added more letter ‘A’s this year. The Awards Show itself is titled Aaaaaaaaaaaaarrghhh! Free! It’s the Increasingly Prestigious Malcolm Hardee Comedy Awards Show.

Details of who is appearing in the show will be posted on my website www.thejohnfleming.com and on the long-due-for-a-re-design Malcolm Hardee website www.malcolmhardee.co.uk/award

But also, in keeping with the title of the show, I have bought the domain name www.increasinglyprestigious.co.uk as well as www.fringecomedyawards.co.uk and, as the current newish sponsors of what used to be the Perrier Awards keep misleadingly implying that they have been sponsoring their awards for the last 30+ years, you can also find details of the Malcolm Hardee Awards at www.fosterscomedyawards.co.uk

This is in a general hope that they may try to sue me for misleading punters – something that is, I would argue strongly, at the heart of the Fringe experience. We do, after all, have an annual award for the best Cunning Stunt.

Our two hour charity variety show will, of course, include the presentation of the three annual Malcolm Hardee Comedy Awards (even I would not be THAT misleading). These are:

– The Malcolm Hardee Award For Comic Originality

– The Malcolm Hardee Cunning Stunt Award (for best Fringe publicity stunt)

and, hopefully self-explanatory…

– The Malcolm Hardee ‘Act Most Likely to Make a Million Quid’ Award

The Malcolm Hardee Awards await collection by Forth Bridge

Obviously, there are no rules, no forms and no application processes. The winners emerge, much like a new Pope, after obscure consultation in small rooms and modest tea-drinking by the judges who are more talent spotters than Simon Cowell type judges.

We hope to stumble on the winners. We do not particularly encourage people to suggest themselves.

The winner of the main Comic Originality award has to have a truly original act, show or persona. Anyone who thinks their show is “zany” is on the wrong wavelength. We have no idea what we are looking for – if we knew what to look for, it would not be truly original – but we recognise it when we see it.

If anyone has to tell us they have pulled a cunning publicity stunt, then they are not going to win by definition – If they have to tell us because we have not heard about it, then the stunt has failed to get publicity.

As for the ‘Million Quid’ award, the number of people likely to pretend to think they are going to make a million quid is too high to even begin to think about. Even if they do make a million quid, it will probably be squandered on drink, drugs, sex and agents they can’t afford, so it is usually a hollow success. But it sounds good as an Award title.

Last year, Ireland’s Rubberbandits won the Award For Comic Originality… England’s Stuart Goldsmith won the Cunning Stunt Award… and South Africa’s Trevor Noah won the ‘Act Most Likely To Make a Million Quid’ Award.

As usual, the three Awards this year will be presented by The Scotsman’s legendary comedy reviewer Kate Copstick and the evening will end, I hope, with The Greatest Show On Legs performing their traditional naked balloon dance. I certainly hope this is going to happen, because central ‘Leg’ Martin Soan is coming up to Edinburgh solely for this show and is stealing my bed in my Edinburgh flat on the basis he will get his kit off and wave some inflated rubber spheres around in a balletic manner.

Other performers will be announced nearer the date. Previous Malcolm Hardee tribute shows have included Jo Brand, Jimmy Carr, Jools Holland, Stewart Lee, Johnny Vegas et al. Do not expect Justin Bieber.

The Malcolm Hardee Comedy Awards Show is part of the Laughing Horse Free Festival – free entry, but with the audience encouraged to donate money as they leave. A full 100% of all money collected (with no deductions of any kind) goes to the Mama Biashara charity run by Kate Copstick.

As Malcolm Hardee’s reputation on money was not angelic, I feel obliged to spell out the exact details.

Especially as this year, for the first time, the Awards Show will be sponsored.

Just The Greatest sponsors the 2013 Comedy Awards

The new Just The Greatest comedy audio label is kindly donating a lump sum to cover the cost of designing, printing and distributing flyers and posters… and the cost of the Fringe Programme fee, the sound teching of the show and the cost of engraving the trophies. A full 100% of any money left over from this lump sum will be donated to the Mama Biashara charity.

I have always been a bit wary of sponsorship for the Awards because of the risk of anything too corporate being connected with an anarchic-imaged set of awards. Also, I do not want to make or to be misinterpreted as making money out of giving awards in memory of dead Malcolm. And I would have trouble getting top acts to perform for free if the few pennies donated were not going to charity or if I were making anything out of it. So I have never covered any of my costs before.

Because of Malcolm’s rather dodgy reputation, just to be clear… None of my personal costs are being covered. No transport; no accommodation costs; no personal costs. Nowt is being covered except show costs – the Fringe Programme entry, flyers, posters, engraving and sound teching. To save money, the flyers and posters will probably advertise both the Awards Show and the five days of my chat shows. In that case, only 50% of their costs will be taken from the sponsorship money (to cover the Awards Show element) and I will pay for the other 50% (to cover the chat shows’ advertising) out of my own pocket.

100% of any sponsorship money not spent on specific show costs will go to the Mama Biashara charity. As will 100% of all money given by the audience on the night of the Awards Show – Friday 23rd August, the final Friday of the Fringe.

Jesus! The hoops I have to make sure I am seen to jump through just because Malcolm might have been a bit creative with money. And I will still be losing money on the show. All this for some dead bloke with big bollocks!

Miss Behave plans chaos for the final week’s Awards at the Edinburgh Fringe

Miss Behave, the Mistress of Ceremonies

So I was talking to Miss Behave, who bills herself “a facilitator of people’s good times, a crowd dominatrix with a friendly twinkle and the perfect Mistress of Ceremonies,” about the acts we should book to appear in the Malcolm Hardee Awards Show this August at the Edinburgh Fringe. She will be the compere.

It was the first time I had met up with Miss Behave since she came back to the UK a few weeks ago after a few months in New Zealand.

“What were you doing in New Zealand?” I asked.

“I was working in a small tent,” she said, “with the Daredevil Chicken Club, who do all manner of wrong things.”

“Such as?” I prompted.

“Well, one of the things they do,” she told me, “is banana-juggling with their mouths – very funny.”

“Oh,” I said.

“…into each other’s mouths, obviously,” she added. “Svetlana is a mail order bride for Mark. They’ve been happily together – or unhappily, depending on who you talk to, for…

“Genuinely a mail order bride?” I asked.

“Yes,” Miss Behave replied, shaking her head. “But they’ve genuinely been married for fifteen years. One of them’s from the States and one of them – obviously – is from Russia.”

“Obviously,” I said.

“They’re fucking brilliant,” Miss Behave told me. “I’m looking forward to working with them and we’re just trying to figure out how, because they’re just about to open a season in New York.

“One of the things I’ve been puzzling about is What’s the point of being authentic when the world is selling out? I don’t get it. It’s weird. One night when I was doing the Friday Night Freakshow at the Udderbelly on the South Bank, it was all getting a bit flat and so I just went Oh, fuck it! and this big-titted woman was heckling. So I went up and had a word with her.

“I asked her what her name was. She said Which name would you like? and I said Obviously, your stripper name and her reply was Not stripper, darling – Porn.

“It turned out she was Holly Halston, retired. Google her. She’s big. So I got her to do a little striptease for me and it all ended up with me sucking one of her tits.”

“In public?” I asked.

“Oh, of course, darling,” Miss Behave replied. “Oh my gosh, one doesn’t want to waste these things. It’s that sense of spontaneity that’s normally missing from shows nowadays. Everything’s terribly slick and terribly… Well, it’s like a photocopier that’s running out of ink.”

“And you hope to bring this to Edinburgh?” I asked.

“I hope to bring this sense of chaos to Edinburgh and I’m hopefully going to be compering a couple of Late ‘n’ Lives and…”

“I’ve lost track,” I said. “What else are you doing up there in August?”

“I’m doing a show called Not Another Fucking Variety Show.”

I laughed: “I bet it’s not going to be printed as that in the Fringe Programme!”

“No, in the Fringe Programme it’s billed as Not Another F*cking Variety Show. It’s Lili La Scala and The Boy With Tape On His Face doing a variety show. And I’m probably also doing compilation-type shows and I’m doing the street. I wanted to work on some new material.”

“You’re walking the streets again?” I asked.

“I’m walking the streets again, John.”

“Doing what?” I asked.

“Well, there’s a couple of new routines I want to work out and Edinburgh audiences are the best for the street.”

“Which streets will you be walking?”

“I will be walking the Royal Mile and The Mound… Me and The Mound get on very well.”

“And you’ll be compering the Malcolm Hardee Awards Show on the final Friday of the Fringe. So tell me why you want to do the Malcolm show.”

“I want to do the Malcolm show because the stuff I like watching the most is when you get really, really funny people flying away from their material. Malcolm, of course, never had any material. But he was really, really funny and I missed seeing him because I am too young. I missed all of that time and I am very bored with ‘now’.

“It’s great that variety’s back. I’ve really enjoyed being part of that, but I want the chaos. There has to be an element of order with chaos, but it’s getting the balance right and, at the moment, it’s just order. And I am bored with it. So I am compering the Malcolm Hardee Awards Show because it’s an honour and because, hopefully, we can bring a shitload of chaos to the last weekend of the Edinburgh Fringe.”

Britain’s Got Talent? Well, let me tell you – you ain’t heard the half of it…

Yesterday, I went to see my chum, the professional farteur Mr Methane, being filmed in the basement bedroom of a hotel near Primrose Hill in London – for a TV show which, alas, I am not allowed to describe until late next month at the earliest.

Apparently the series gets around 20 million viewers worldwide – more than the almost 14 million hits his Britain’s Got Talent clip currently has on YouTube.

While sitting around during the filming, I did have a chance to meet for the first time Paul ‘Burper King’ Hunn, the man who holds the record for the loudest burp in the world.

These two great audio entertainment legends had not met in the flesh until yesterday, so it was a historic day in bodily function circles. I felt privileged to be there.

Paul Hunn has held his distinguished Guinness Book of Records title since 2000 and still does but, he tells me, he is not in this year’s printed book because Guinness do not print every record every year – something which I had not realised.

How strange, I thought.

But the logic, it seems, is that if they printed every record every year then, with some records standing unchallenged over long periods, the book might seem too ‘samey’ every year. So not every record is printed every year.

Paul’s friend Steve Taylor holds the record for having the world’s longest tongue but, this year, he tells me, the Guinness Book of Records only includes the girl with the longest tongue.

According to The People newspaper in 2007, Steve Taylor can “fit five ring doughnuts on his monster. And he is only millimetres away from licking his own elbow – a feat always thought impossible.”

The full abilities of the girl with the longest tongue in the world remain strangely unreported.

I felt a slight tremble of trauma when Paul, the Burper King, mentioned the Guinness Book of Records to me, as I am still recovering from the emotional turmoil of them rejecting spaghetti juggling as a legitimate activity for their records during Malcolm Hardee Week at his year’s Edinburgh Fringe.

At the time, I felt spurned and strangely soiled.

They said spaghetti-juggling was “a little too specialised”.

Now, having recovered a little from the worst of my grief, I feel they simply did not show fitting respect to the sense of adventure and exploration of the unknown which made Britain great.

After leaving the hotel yesterday, with the sounds of Mr Methane and the Burper King still ringing in my ears, wistful memories came into my mind of booking Adrian ‘Nosey’ Wigley, a man from the West Midlands who could play the tune Spanish Eyes on an electric organ with only his nose.

Well, rumour had it that his nose was not the only one of his bodily protuberances with which he could play the electric organ, but modesty and a presumed inability to actually screen anything else on national TV meant I questioned him no further on his other physical abilities.

Sometimes, in the lengthening twilight of my years, I think fondly of Adrian ‘Nosey’ Wigley and sigh a sigh of contentment that, after booking him on The Last Resort with Jonathan Ross, my life has perhaps not been totally in vain.

Day Three of Malcolm Hardee Week – pasta chaos and a finger up the bottom

Malcolm Hardee Week continues apace.

After Monday’s Malcolm Hardee Debate finished a whole hour late (it merged into the next show), Scots comic Nob Stewart grabbed Kate Copstick when she came off stage and chatted to her on camera for 45 minutes.

I guess the adrenaline (and possibly the two pints she had had on-stage) pumped away. In the first two minutes, she named a comedy company whose flyerers had physically threatened her and she was laying into the big promoters at the Edinburgh Fringe. If you think she is sharp-tongued on ITV1’s Show Me The Funny, you have only heard the half of it…

http://vimeo.com/28094655

Later today, Copstick is travelling down to the O2 arena in London as a judge for the live final of Show Me The Funny (although the winner is decided by viewer voting). Then tomorrow she is on a train back up to Edinburgh when we decide the Malcolm Hardee Award winners at noon and she will take an active part through the wonders of 21st century technology. As I said in my blog yesterday, what’s this thing with the Prime Minister having to be dragged back from holiday every time something happens?

If we had Copstick as Prime Minister, things would be easier.

Me? I have to be at the Blue Moon cafe-restaurant-bar in Barony Street just off Broughton Street in the New Town at noon today to collect more spaghetti for the second day of the Malcolm Hardee Spaghetti-Juggling Contest. The Blue Moon is generously sponsoring us with free spaghetti.

The spaghetti-juggling happens outside the Beehive Inn in the Grassmarket.

Yesterday the first spaghetti-juggling contest, partially in the rain, became less of a solo juggling event, more a three-a-side sideways-throwing contest with the participants constantly changing. This came about when Scots comedian Bruce Fummey valiantly tried to bring some order into the proceedings; it must be his background as a teacher.

In its latter stages, to be honest, with spaghetti stocks dwindling, the thing degenerated more into a custard-pie type spaghetti fight than juggling. The arrival of Malcolm Award nominated Johnny Sorrow on the scene in a macintosh and flat cap did little to quell the degeneration of this fine potential Olympic sport – and he seemed to encourage the rain.

At the end, Laughing Horse Free Festival supremo Alex Petty mucked-in with a stiff broom, helping to clear up the scattered spaghetti in the cobbles outside the Beehive Inn. If his flirtation with big-time comedy promoting ever falls through, he has a future as a street sweeper.

Today’s spaghetti-juggling will include on-the-spot advice on the aerodynamics of pasta from Dr Sophia Khan, formerly of NASA , Harvard, the Japanese Space Agency and Shanghai University. She will be joined by Dr Andrew Bunker, former Head of Astronomy at the Anglo-Australian Observatory in Oz and now Reader in Astrophysics at Oxford University.

Who said spaghetti-juggling was trivial?

Brainiac eat your heart out.

While waiting for the spaghetti-juggling to start yesterday, I got dragged into Lancelot Adams’ show outside the Beehive Inn – The Magic Drawabout – an enticingly odd concept in which he gets passing members of the public to take part in a one hour show which involves drawing each other in various parts of the Grassmarket while he chats to the ‘sitter’.

He told me he had thought I looked like a weirdo when he first saw me in the street, but soon realised I was not. I was genuinely offended this.

Have the last several decades of my life, cultivating weirdness, all been in vain?

The Magic Drawabout and Lancelot Adams’ other show at the Beehive Inn – Ze Hoff Und Friends – about David Hasselhoff – are decidedly quirky, but the ‘sleeper’ of the Fringe has arguably been Paul Provenza’s Set List: Standup Without a Net which started in Just The Tonic at the Tron, then moved to one of Just The Tonic’s bigger venues at The Caves and now has moved to a bigger Cave, such has been its increasing popularity. It has gathered even more word-of-mouth with Paul Provenza flying in from LA last week.

Set List: Standup Without a Net has also been getting a lot of word-of-mouth buzz among comedians, because its format of the stand-up comic being shown a list of six words or phrases as subjects – the set list – one-at-a-time without pre-warning only when they are on stage is an utter nightmare. The best comics can weave a thread through the disparate subjects rather than just perform six unconnected routines. The risk of getting lost is high. The likelihood of a comedian eventually shitting on stage must be equally high.

Last night, among those trying their luck were Frank Skinner, Hardeep Singh Kohli, Richard Herring and Phill Jupitus. Big names for a concept that seems likely to get bigger.

One tiny aside…

While waiting to get into Set List last night, a comic came up to me and said she had just been to Malcolm Hardee Award nominee Bob Slayer’s show at The Hive where, on stage, she had stuck her finger up his bottom. A rubber glove had been provided by the ever-amenable Bob.

As far as I know, it is the second time this has happened in Bob’s show.

Call me old-fashioned but I think, as a format, Set List: Standup Without a Net has more likelihood of being commissioned as a TV series.

I would be happy to be proved wrong, though I am not sure I would be watching on a regular basis.

Bob Slayer was nominated for this year’s Malcolm Hardee Award “for going beyond OTT into uncharted areas of comedy excess”.

I think it would be difficult to fault our nomination.

When I mentioned this story to Bob Slayer, he said, “Well, I do want to point out that it did not happen a second time – The lady who did it the first time was in the audience last night and so another lady tried to emulate her (who wouldn’t?) – She tried to do a fist but failed .

“I obviously don’t want people to think that any Tom, Dick or Harry can finger my entrails.”

The “Tiswas” recipe for attacking Rupert Murdoch and others with pies

Yesterday, a friend of mine was having an operation, so I was at Blackheath Hospital.

This meant I was hanging around in a room waiting for most of the day and saw most of the live coverage from the House of Commons where the Culture, Media and Sport Committee were questioning Rupert and James Murdoch.

But, inevitably – Sod’s Law – because my friend came out of the operating theatre at the same time, I missed Jonnie Marbles aka Jonathan May-Bowles trying to ‘flan’ Rupert with a shaving foam pie.

I saw it later.

My friend is fine.

I am not so sure about Jonnie Marbles.

This piece of desperate self-publicity would normally make him worthy of being nominated for – and possibly winning – the annual Malcolm Hardee Cunning Stunt Award but, alas, young Jonnie appears to have fallen at the first hurdle in the process. He does not seem have a show at the Edinburgh Fringe and, if he does, he failed to plug it.

Yesterday, the Free Festival at the Edinburgh Fringe suddenly had two cancellations, so my advice to him is Forget that free phone call to the lawyer. Get on the blower to the Free Festival, get a show booked at the Edinburgh Fringe sharpish and pray for a Cunning Stunt Award nomination/win.

Being imprisoned and unable to perform in Edinburgh might interfere with the show but might actually boost his chances of getting a Cunning Stunt Award.

Our House of Commons pie-flinger whom the Chortle comedy website calls “an occasional comic” seems to be a serial stunt-publicist and I can only presume he was jointly influenced by two things.

The first influence would obviously be self-proclaimed ‘comedy terrorist’ Aaron Barschak who gate-crashed Prince William’s 21st birthday party at Windsor Castle in 2003 dressed as Osama bin Laden in a pink dress. His subsequent Edinburgh Fringe show failed to live up to this pre-publicity boost and the Malcolm Hardee Cunning Stunt Award had not yet started, so Aaron tragically failed to build his career on the stunt.

Jonnie’s second influence might well have been the cultural effect of large numbers of a previous generation of Brits watching the cult children’s TV show Tiswas, on which I worked as a researcher.

It was known for its slapstick outbreaks of gunge and custard pies.

In a selfless spirit of public service, I print below the ‘official’ recipe for a Tiswas custard pie, copied from an alleged official recipe sheet which I half-inched when the show ended. Tiswas ‘custard pies’ were made not of custard but of whipped shaving foam.

Custard would have slid down the target’s clothes, could have stained them and might have involved the programme in laundry costs and complaints. Shaving foam stuck where it hit and wiped off with no significant after-effects.

The main custard pie flinger on Tiswas was a Ninja-like character called The Phantom Flan Flinger.

Far be it from me to try and get blatant publicity out of the wanton, appalling and unprovoked attack on defenceless media tycoon Rupert Murdoch by saying that the Tiswas tradition continues this year at the Edinburgh Fringe with the first Malcolm Hardee Spaghetti-Juggling Contest.

But can I point out that the Tiswas tradition continues this year at the Edinburgh Fringe with the first Malcolm Hardee Spaghetti-Juggling Contest?

This is the somewhat vague Tiswas recipe:

________________________________________________________________________________

TISWAS CUSTARD PIE RECIPE

INGREDIENTS

– Economy Size Gillette Shaving Foam **

– Vegetable dye. The Phantom Flan Flinger suggests green or blue dye but advises against red dye as this tends to cause irritation and blotches.

– Paper plate(s)

– Palette knife. – Mixing bowl or large bowl/bucket (depending on the amount needed)

********

Spray shaving foam into mixing bowl remembering to keep enough spare for decoration.

Add vegetable dye and mix together.

Smooth over paper plate(s) with palette knife.

Finally decorate around the edges with white shaving foam.

Before use, this should be left for a few hours to eliminate the sting that the shaving foam has.

Then proceed with flanning!

Old T-shirts and such like to be worn during flan matches in case of stains. Clothes washed afterwards to be soaked in cold water first.

HAPPY CUSTARD PIES!

** Alternative: Crazy Foam from local joke shop. Or Instant Whip available from most supermarkets.

________________________________________________________________________________