Tag Archives: language

Sex in my daily blog, stendapists & the surreal style of computer translations.

Well, I was going to blog about the London Film Festival documentary which I saw last night – Being Evel: The Lives and Loves of a Daredevil. The trouble is it is a good documentary but not an exceptional one. Plus it is obviously shot for TV (big close-ups of interviewees). Plus Evel Knievel was really just not a very nice person.

Unlike, I suspect, former brothel madame Cynthia Payne, though I have never met her.

She cropped up in a blog I posted three days ago.

A Comment was posted online:

Thank you for the mention in your blog today, I always read it. Those were the days eh John, such fun. Hope that you are keeping well. Life is a bit quieter for me nowadays, but I wouldn’t change a moment of it all. Wonderful memories. Much love Cynthia xx

It is a joke by someone, OK?

But unlikely people do read my blog including, it seems, Russian-born, Israeli sex therapists.

There was a real Comment on my blog this morning from Lev Korogodsky. He was reacting to my blog of two days ago, which was titled: In rainy Montenegro, Lynn Ruth Miller prefers vodka to sex advice from Israelis

Lev Korogodsky’s profile picture on Facebook

Lev Korogodsky’s straightforward profile picture on Facebook

Lev Korogodsky is the Israeli sex therapist mentioned (but not named) in that blog. He commented:

Geat thanks for so high evaluation of my lecture in Montenegro!

… and he also posted a link to my blog on his Facebook page.

Facebook now helpfully gives automatic translations, which have their own linguistic splendour.

They render Lev’s original Facebook comment about my blog and Lynn Ruth Miller:

Неожиданный отзыв о моей лекции )))))!!!
А она, реально, еще та штучка!!!
as
An unexpected feedback about my lectures)))))!!!
And she, really, still that little thing!!!

Further comments from Friends on Lev’s Facebook page (with automatic translation) include one from George Mladenov:

“We then recovered from Post Traumatic Stress Syndrome in our rooms by drinking large tumblers of vodka and meditating.” Так вот значит какие у вас методы!

translated as:

“We then recovered from post traumatic stress syndrome in our rooms by drinking large tumblers of vodka and meditating.” So that’s what you have methods!

Lev replied to this with:

Это не наши методы )). Это их британское декадентство )))))

It’s not our methods)). It’s their British decay)))))

Then Nicolay Amiel Trzhascal commented:

Тётка решила поднять себе рейтинг, а заодно по израильтянам проехаться. Это называется возвышение себя через опущение другого.

Aunt decided to make herself rating, and as a bonus for the Israelis, go for a ride. It’s called the elevation of themselves through the omission of the other.

To which Lev replied:

Тетка на идише шпилит, лучче, чем мы с тобой на иврите. Кроме того, она стендапистка и , реально классная!

Aunt in Yiddish nail, лучче than we are with you in Hebrew. In addition, she стендапистка and, really cool!

As the Facebook computer failed to translate лучче and стендапистка, I looked them up in Google Translate, which reckoned they meant Lucci and stendapist. I then tried the whole comment in Google Translate and

Тетка на идише шпилит, лучче, чем мы с тобой на иврите. Кроме того, она стендапистка и , реально классная!
was translated into English as:
Aunt Yiddish spiers, better than we are with you in Hebrew. In addition, it stendapistka and really cool!

I am still none the wiser as to what the apparently English word ‘stendapist’ means.

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In order to speak and perform Italian language comedy, you have to live it

Romina Puma

Romina Puma, creator of fortnightly shows

Last night, in London’s Soho, I went to fortnightly Italian language comedy night Laboratorio di Cabaret – Il Puma Londinese. They usually have at least one English language act.

This is the fourth of their shows I have been to and I understand about a quarter of one percent of what is going on in the Italian parts. But the atmosphere is hugely enjoyable and, to illiterate me, the shows are like watching abstract comedy performance. I watch the visual performance and can appreciate the structure of the emotional delivery of the words and feel the emotional meaning of the words, even though I don’t understand the words.

Last night I went with comedy critic Kate Copstick, who is multilingual – she can speak English, Italian, Swahili and Glaswegian. She has written guidebooks to Italy.

“Did you understand 100%?” I asked.

“Maybe 90%,” she told me. “But, in Italian, people take a lot more words to say stuff so, in a way, to get the gist, you only need to understand 90%. One of the wonderful things about Italian conversation is it’s ‘Big’. You maybe say things twice or in three different ways. You just say more than you would in English.”

“Earlier today,” I said, “I was talking to someone about Irish English and it’s often more meandering than most English English and Irish people have told me it’s because the Gaelic is not a succinct language: it, too, needs more words.”

“There is just such fun in saying things in Italian,” said Copstick. “Alex Martini (the compere) was terrific – great energy and quintessentially Italian – which is a GOOD thing. Really, really likeable. But a night like tonight also proves there is an element to comedy that goes beyond the words. I didn’t understand 100% but I laughed more than I do in a lot of good English language gigs. It’s the feeling of fun and enjoyment and laughter.

(From left) Marouen Mraihi., Giada Garofalo, Giacinto Palmieri, Romina Puma, Alex Martini after last night’s show

(From left) Marouen Mraihi., Giada Garofalo, Giacinto Palmieri, Romina Puma, Alex Martini after last night’s show

“Those two girls – Romina Puma and Giada Garofalo – warm, funny, confident and out there – they really brought the audience into it all. Very warm, very female, very anecdotal.

“If you translated their set into English, it’s just very anecdotal, chatty, kinda Sarah Millican-ish. But the energy and the whole character of doing it in Italian just pulls you in so much more.”

“I have an English friend,” I told Copstick, “who worked in Tokyo then married an Italian and now lives in Milan – so she’s good at languages – and she told me the only way to speak Italian is to ‘live’ the language. You can’t just say Italian words with English speech rhythms: you have to almost perform Italian. Saying the plain words just doesn’t work.”

“Absolutely,” said Copstick. “Giacinto Palmieri is warm and wonderful when he performs in English but, in Italian, it’s like someone has lit a fire under him. In English, he is black and white; it Italian, he is in colour.

“What your friend said about ‘living it’… the minute you translate the Italian words into English in your head, it’s not as funny. The whole approach to the story and the whole way of telling stories in Italian is just different. Literally – to coin Frank Carson’s old phrase – it’s the way they tell ‘em.”

Kate Copstick enjoyed my lively wit (Photograph by Giada Garofalo)

Copstick found herself unable to resist my captivating wit last night (Photograph by Giada Garofalo)

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The newish comic most likely to become successful? I get sidetracked by Chaucer

Archie at Soho Theatre this week

Archie at the Soho Theatre in London this week

You can never tell who is going to succeed. Some extremely talented performers crash and burn. Some with minimal talent strike it lucky. (See vast swathes of BBC3.)

So who do I guess is the current reasonably-new comedian most likely to succeed…?

Archie Maddocks.

Maybe as a comedian.

Maybe as something else.

I blogged about him back in October last year.

I saw him recently in the Amused Moose Laugh Off Awards semi-finals. He got through to the final at the Edinburgh Fringe on 3rd August.

And I was one of the judges at the English Comedian of The Year a couple of weeks ago. Archie was competing but was not in the first three.

“What about talent contests?” I asked him when we met at Soho Theatre this week.

“I completely understand why they’re there,” he told me. “But I really don’t like them. The judging panel could love someone on one night then see them another night and think they’re shit. There’s so many different things go into that one night.

“My ideal way to do it would be to have a final every night for a week and put the comedians in different places on the bill, then take an average score. That would make sense for me in terms of comedy.”

“You’re at the Edinburgh Fringe this year,” I said, “but not in a solo show.”

Edinburgh Fringe show 2014

Maddocks’ & Oliphant’s Fringe show 2014

“I’m not going to do a solo show,” said Archie, “until 2016 at the earliest. At the Fringe this year, I’m one of the acts in Just The Tonic’s Big Value Showcase. And I’m doing a free show called Cookies & Cream with Jamie Oliphant who, surprisingly, doesn’t have a joke about his name. And I’m doing lots of other little things. But not a solo show. I’m not ready.”

“What’s your Unique Selling Proposition?” I asked.

“Probably confidence,” said Archie. “Everyone seems to say I’m stupidly confident for my position. But I’m very at home on stage. Some people have said that to me as a criticism, but how can that be a criticism?”

“I guess,” I said, “you feel comfortable because you grew up in a theatrical family where it was not abnormal to stand up in front of people and do strange things. Do you get stage fright?””

“No, but you can tell I’m nervous if I speak faster. I used to do this pacing thing just cos I wasn’t comfortable standing still and talking. But now I am. I only move when it makes sense to move. Coming to stand-up from an acting background is weird. I think there’s more recognition for acting. When an audience watches an actor, they recognise what that person’s job is. Whereas, with comedy, they’re not quite clear what job the comic is doing.”

“If you’re an actor,” I suggested, “the audience knows you have artificially created that atmosphere in the room but, with a good comic, it feels like they are just chatting to you in a non-artificial way so it feels like they are not performing, just being themselves.”

“I guess,” said Archie.

“You’ve probably,” I joked, “written 15 plays since the last time I chatted to you.”

Archie’s Compulsion at the Fringe

Fringe Compulsion: self-punishment & flagellation

“I’ve written a few plays,” laughed Archie. “One is going to be at the Fringe. It’s my first Edinburgh play. It’s called Compulsion and it’s about self-punishment and self-flagellation.”

“Sounds like comedians,” I said.

“Sort of,” laughed Archie. “It’s set in the minds of this one man and it’s him compulsively going over whether or not he has been a good person, looking back at memories of when he found himself being ashamed of something. It’s about him kind of descending into insanity.”

“You’re not performing in that?”

“No. I’ve written and directed it.”

“And a ‘serious’ actor plays the part of the man?”

“There’s several of them.”

“Different facets of the mind?”

“Exactly. They are called The Facets. Four of them altogether; one playing the same character throughout; the other three switching between facets and memories.”

“Directing is dead easy, isn’t it?” I said. “You just tell ‘em to stand over there and put more emphasis on a couple of words.”

Archie at the Comedy Cafe Theatre

Archie straddling comedy and theatre at the Shoreditch venue

“It is much harder work than I anticipated,” replied Archie. “It’s the first time I’ve directed a proper production; I’ve directed youth theatre before, but that’s very different. I think it’s something I’d like to do more of later on. It’s interesting to be so much more immersed into a text – moreso than when you are just acting. I feel I am the eyes of the audience and I’m conducting how I want them to see it.”

“It’s like writing,” I suggested. “The way to write is not to think of yourself as the writer but to go round 180% and look on what you are writing as if you are the reader, seeing the words for the first time as they appear on the page.”

“Exactly,” said Archie.

“As a director,” I asked, “did you change any of the pearls of wisdom you wrote as a writer?”

“Yes. Cut words. Cut entire scenes. Added in new scenes.”

“Was that,” I asked, “because you changed your mind or because the actors played it differently to the way you had imagined?”

“A combination of things,” explained Archie. “And we have no budget, so there were some scenes I thought we would be able to pull them off and we couldn’t.”

“Because of scenery and effects?” I asked.

“Scenery and time constraints, because it’s only a 50-minute play. There was originally a scene where they were going to be talking in metaphor about how a man has to use his tools in order to be a good craftsman and how that translates into actually being a good man. It was a nice scene but, in the whole dynamic and rhetoric of the play, it didn’t add anything. I would have had to dress them up in high-visibility building gear. That’s an expense we don’t need. We would have had to build a soundscape for the builders’ yard. So I threw that out. Now we have people in parks, people in showers. Very easy to do just with subtle lighting changes.

Archie Maddocks

Archie – stories not words are precious

“Obviously I found it hard directing my own writing because I’m so close to it – It’s hard to cut certain things and, if the actors dropped a line, at first I would get a bit precious. Oh no – I wrote that for a reason! But, if rhythmically the actors are not getting what I saw and it’s coming out not as I thought it would come out, then I’ll change it around to make it make sense. The exact words are not that important. The story is still being told.”

“It’s like spelling,” I said. “Correct spelling is much over-rated. Shakespeare couldn’t even spell his own name.”

“And he made up words,” said Archie, “No-one complained about that.”

“Did he?” I asked.

“I think he made up the word ‘swagger’ and made up the phrase ‘heart on your sleeve’. Something like 500 words and phrases have been attributed to Shakespeare.”

“I think Roald Dahl invented the word ‘gremlin’,” I said. “You could die happy if you got a new word in the Oxford English Dictionary.”

“This is why,” said Archie, “I get really annoyed with people who don’t like kids who talk in slang. It’s their own language. You can’t be annoyed at that. If you don’t understand it, don’t say You must talk like I talk.”

“Chaucer is unintelligible,” I said. “Have you read Chaucer?”

“Yeah. I love Chaucer. But it’s hard to get through.”

“I couldn’t cope with Chaucer,” I said. “Shakespeare’s within bounds, but Middle English is another language.”

Sir Gawain and The Green Knight

Seer Gahwayn and Te Green Kennihte or however it was pronounced in the far-off Middle English days

Sir Gawain and The Green Knight,” said Archie. “Great story, but its readability… phwoah!

“I remember,” I said, “reading some Edgar Wallace novel which was written maybe around the 1910s or 1920s and thinking it was written in a slightly different language from the 1960s and 1970s.”

“Yeah,” said Archie, “Language evolves and people should accept the evolution of it, rather than try to kill it.”

“Presumably,” I said, “English will develop into the world language, but there will be Indian English and Chinese English as well as American English. I mean, Yorkshire English and Glasgow English and Kerry English are all slightly different.”

“There will,” said Archie, “be just be loads of different versions of pidgin English.”

“Which is why it’s a great language,” I said.

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Toothache and George Eliot, writer of the best novel in the English language

I just can’t be bothered to write a blog this morning. I have not recovered from what, in effect, was my day trip to Kiev – despite the fact I slept for a lot of that.

And I have to go to the dentist at midday today.

He is treating me for problems with a top right tooth and a bottom right tooth.

And, six days ago, an entire filling fell out a top left tooth. No immediate pain, but I could not get an appointment until today and went to Kiev with six different types of painkiller and a temporary tooth filling kit.

Now I just want to go to sleep before seeing the dentist.

GeorgeEliot_WikipediaSo this blog is just going to be quotes from my favourite author before I stopped being able to read books after being hit by an articulated truck in 1991 – Look, you should have read my previous blogs. Now you will have to wait for the book of the blogs.

The writer Julian Barnes called Middlemarch by George Eliotprobably the greatest English novel”. Virginia Woolf said it was “one of the few English novels written for grown-up people” and Martin Amis called George Eliot “the greatest writer in the English language”.

All three are right.

GEORGE ELIOT
RIP Mary Ann Evans
born 22nd November 1819
died 22nd December 1880

So it goes.

  • I like trying to get pregnant. I’m not so sure about childbirth.
  • Different taste in jokes is a great strain on the affections.
  • It is never too late to be what you might have been.
  • Failure after long perseverance is much grander than never to have a striving good enough to be called a failure.
  • Great things are not done by impulse, but by a series of small things brought together.
  • The golden moments in the stream of life rush past us, and we see nothing but sand; the angels come to visit us, and we only know them when they are gone.
  • Our deeds still travel with us from afar, and what we have been makes us what we are.
  • Blessed is the man, who having nothing to say, abstains from giving wordy evidence of the fact.

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Toilet seats and the difference in the collapse of British & Russian empires

A bottom-shaped toilet seat as it was meant to be

A toilet seat as it was meant to be…

I flew to Kiev yesterday. I went to the toilet first.

They have tried hard at London’s Gatwick Airport.

There is a new ‘super-loo’.

The holes in the toilet seats are rectangular.

I checked my bottom before and after using one. My bottom is not rectangular. I was unable to check other people’s bottoms. But I suspect the design of these new ‘super’ toilet seats is a triumph of design over practicality.

A triumph of good intentions over actual effectiveness.

Some seats in the Departure Lounge at Gatwick have little flat surfaces next to them with plug sockets and USB ports so you can use and charge your computers and mobile phones.

All the sockets and USB ports had been switched off.

A triumph of good intentions over actual effectiveness.

Ukraine International Airlines were very attentive on the flight to Kiev. All the pilot and cabin announcements were, of course, in both Ukrainian… and in English as, I think, the rules say they have to be. At least, I think they were in English.

But the English was around 97% totally incomprehensible. It was like audio origami. I basically only knew it was English because of the polite addition of clear Thankyous at the end of sentences.

A triumph of good intentions over actual effectiveness.

A street in Kiev at 9.40am this morning

A central street in Kiev – or Kyiv –  at 9.40am this morning

So now I am in Kiev.

In an enlightening conversation last night, a local was telling me how the corruption system works.

It is a triumph of actual effectiveness over good intentions.

I say I am in Kiev… but actually I am in Kyiv. Because ‘Kiev’ was the Russian-approved Western spelling used in the Soviet era. Now Ukraine is independent. So now it is written as ‘Kyiv’.

As with all ex-Soviet states, there was and is a problem with the Russians.

I remember a historian (not British born) telling me in the 1990s what he thought was the difference between the collapse of the British Empire and the collapse of the Soviet Empire.

I do not know if he is right or wrong, but it is an interesting viewpoint.

The way he saw it, the British had conquered an empire but had, by-and-large, not fully integrated themselves within the local community, particularly in India.

In the Raj, they tended to live in British communities, go to British clubs and continue living their British lives separate from the local communities. Britain was always seen as their home country. They lived consciously as ex-pats.

With the Soviet Empire, the Russians, to a greater extent, colonised each country and moved their families and lives lock, stock and family barrel into them because they, perhaps, felt that all these other countries really were part of one great Socialist country.

When India got independence, by and large, most British families simply upped-sticks and left, mostly going back to their ‘home’ country – the UK.

But, when the Soviet Empire collapsed and satellite countries got independence, the Russian populations within those countries had psychologically, economically and physically integrated their families’ lives within the communities. They had no actual close family ties back in Russia. They were not expats living away from mother Russia. They were Russians who felt fully part of the satellite countries.

For example, in Uzbekistan, they were not Uzbeks yet, in Russia, they were not ‘real’ Russians. They had nowhere to ‘go home’ to. These were Russians who had been in Uzbekistan for generations and were now left stranded in what had been their home country and was now a foreign country.

Same thing in the Ukraine… exacerbated by a history of invasions over the centuries.

There is a heavy Russian presence in the east and in the south of modern, independent Ukraine. According to a 2001 census, 67.5 percent of the population declared Ukrainian as their ‘native’ language and 29.6 percent declared Russian.

They considered Russian their ‘native’ language.

Almost 30% of the country.

Almost all in the east and south.

This is not good.

Some people talk of splitting the country.

Mostly the Russians in the Ukraine. And the Russians in the Kremlin.

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Origin of the word ‘Wally’ + red-faced Malcolm Hardee and ladies’ underwear

Martin Soan and my eternally-un-named friend last night

Comedian Martin Soan, my eternally un-named friend and I went to a Creative England event at Elstree Film Studios last night, where studio boss Roger Morris gave what I think is the most upbeat assessment of the future of the British film industry that I have heard in thirty years.

When the three of us got back to my home, Martin said:

“Jesus was at Weeley.”

He had read my blog a few days ago about the word ‘Wally’ and how it had supposedly come into the language either via the 1971 Weeley Music Festival or the 1970 Isle of Wight Festival.

“I was there at Weeley in 1971,” Martin told us, “and people did shout out Wally!. But, really, anyone from East London was shouting out Dick-eyed Wal – Dick-eyed Wal. There was this chant Dick-eyed Wal – Dick-eyed Wal.

“Why Dick-eyed Wal?” I asked.

“Well,” explained Martin, “Dick-eyed Wal is East End terminology for saying you’re a fucking idiot.”

Martin was born in Stratford in London’s East End. He explained:

“We used to call – and, to this day, they still do call – pickled gherkins Wallies.”

“So it did not start in the 1970s?” I asked.

“No,” said Martin, “it was something I picked up as a kid. I remember buying pickled gherkins as a kid and calling them Wallies. I don’t know where it came from, but Dick-eyed Wal was the same as a Wally and was basically a prick. We used to call pickled gherkins Wallies and they’re sort-of penis-like and we used to call people Wallies back then because you associated them with penis-shaped gherkins and Dick-eyed Wals.”

“Why were they shouting out Dick-eyed Wal at Weeley?” I asked.

“They were saying Where’s Wally? on the PA system and we were shouting out Dick-eyed Wal – Dick-eyed Wal like What a wanker! What a wanker! I remember it distinctly because I was with a couple of East Londoners and they started it. And the other thing I remember is Jesus.”

“Jesus?” I asked.

“He used to be at very early music festivals,” said Martin, “with a pageboy blond haircut which, even in those days, was just a bit too much and he wore these long flowing kaftans and did this trippy-type trance dancing and he was always down the front. I saw him at various festivals.”

“And was he consciously trying to be Jesus?” I asked.

“I dunno, but everyone nicknamed him Jesus. I heard a story about him years and years later… This guy was celebrated, you know? He went to lots of festivals. And, later on, he had a go at becoming someone in showbiz.

“So he got some B-celebrity folk singer to appear on this show with him at Camden and he billed himself as Jesus.

“The B-celebrity folk singer did his thing and went down OK and then Jesus came on with the introduction: Ladies and gentlemen, here’s Jesus… and just down the road were these gasworks and they exploded. So he walks on the stage and there’s this huge explosion and everyone was evacuated from the building. And that was his only attempt at showbusiness and everyone went away thinking Wow! That’s Jesus, man!

Earlier, at Elstree Film Studios, almost inevitably, the subject of the late Malcolm Hardee had come up. Malcolm used to perform with Martin Soan in The Greatest Show on Legs.

“You wouldn’t have thought Malcolm could ever be embarrassed,” Martin told us. “But he was once.

“He wanted some sexy lingerie for one of his girlfriends so there was this sexy lingerie shop in Lewisham and I said to him, Well, go in and buy some, and he said, No, I can’t do it, I can’t do it.

Why not? I asked him.

I can’t, I can’t, I can’t, he said. So I had to go in there for him. He was too embarrassed to go in.

“The strange thing was I went in and told the assistant I want to buy some sexy women’s underwear and she asked Are you a lorry driver? and I dunno why she said that. She must have just had a lot of lorry drivers coming in asking for women’s underwear. Then she asked me Do you want it in red or black? so I stepped outside into the street and yelled out: Malcolm! Do you want your basque in red or black?

“What did he say?”  my eternally un-named friend asked.

“He just ran off round the corner,” said Martin. “It was so unlike Malcolm. I suppose it was because it was Lewisham and that was where he was brought up, just up the road. Perhaps he was a bit embarrassed because of that.”

“But,” I said, “he never worried about showing off his bollocks to hundreds of people at a time.”

“But it’s like,” Martin replied, “me staying at your house tonight. I’ll get up on stage in front of 300 people and stick my cock in front of a camera and fuck it, but walking naked through your living room with just you and your un-named friend – your eternally un-named friend – it would be embarrassing.”

“I wouldn’t mind,” said my eternally-un-named friend. “I can’t see at night without my glasses and you’ve always had the Scandinavian way, you and Vivienne.”

“Yeah,” said Martin. “In front of our children, but not in front of strangers. Not one-on-one.”

“When I used to visit you,” my eternally-un-named friend said, “people were having baths.”

“Of course,” said Martin. “It’s our house. We can have baths in our own house. But, if I walked through naked in front of John in his living room, I’d feel embarrassed. Walking naked in front of 400 people, no problem. If it was part of a stage show, I’d lay my knob over the top of John’s head like a Mohican.”

“Well…” I said.

“… if there were 400 other people there,” continued Martin. “But coming down into his living room at 9 o’clock in the morning with no-one else there and I lay my knob on his bald head, it would be quite…”

“Let’s not go there,” I interrupted.

“…funny, wouldn’t it?” Martin finished. “But tragic and embarrassing. And no-one wants to see that or have that done to them.”

“Oh,” said my eternally-un-named friend, “I don’t know.”

“With the long winter nights coming on…” I said.

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John Terry, racism & the Afro-American

News from home while insects bite

I am in Milan for a week.

Yesterday, I was laughed-at for wearing long trousers in the 84F degree heat. Last night, we ate watermelon at an outside restaurant and the mosquitos ate my accusers’ legs.

There is a God and he lives in northern Italy.

Meanwhile other life goes on.

The UK newspapers this morning are full of footballer John Terry being found innocent of racism for calling Anton Ferdinand a “fucking black cunt”. I really do not know what I think about this case. My mind is split.

In my heart, I feel he should have been found guilty but, on the other hand, I know that if he had called a Cardiff-born footballer a “fucking Welsh cunt” he would not have been prosecuted. This implies that it is no longer illegal to use the words “fucking cunt” (something I was found guilty of in a Crown Court in Norwich in the mid-1990s, when the appeal judge said the use of the word “cunt” was “clearly obscene” in the phrase “Your client is a fucking cunt”), but it is now possibly a criminal offence to use the word “black”.

This unsettles me.

Especially as an English friend here in Italy has told me that he heard his 14-year-old son (who speaks English at his international school) call a British rapper an “Afro-American”. When my friend mentioned that he thought the rapper was actually born in Brixton, his son told him he could not call the rapper “black” because that was a racist word. So he called all black people, wherever they came from, “Afro-American” because they all “originally came from Africa”.

Where the American bit comes in I am flummoxed to explain.

In other news from home, I am now getting my annual e-mails from American comedian Lewis Schaffer being indecisive about the design of the flyers for his Edinburgh Fringe show.

I see all his designs carry the line

SPONSORED BY PETER GODDARD. HE’S A NICE GUY

with a photo of the aforementioned Peter.

I blogged about it when this interesting piece of sponsorship was first suggested to Lewis and I am not quite sure if it warrants another Cunning Stunt nomination for the Malcolm Hardee Awards. Or not.

As I type this, I am eating toast and drinking tea near Milan.

In Syria, people are being killed.

So it goes.

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Filed under Comedy, Football, Italy, Racism