Tag Archives: pornography

Now screening: a gay porn film with no script not written by Sir John Gielgud

Producer David McGillivray at Soho Theatre yesterday

Producer David McGillivray met me at Soho Theatre yesterday

“So what we are talking about here,” I said to David McGillivray in the Soho Theatre Bar yesterday afternoon, “is a script that you filmed – a sleazy, gay, hardcore porn film and you have conned some very respectable performers like Nigel Havers and Barry Cryer and Julian Clary into appearing in this filth.”

“Yes,” said David McGillivray. “Mea culpa. Up until very recently, I did maintain that this was a gay, hardcore porn film and it got us a lot of publicity, for which I’m very grateful. I have subsequently admitted that it could now be passed with a U certificate.”

“Was that always the case?” I asked. “Or have you edited it?”

“The script that I saw ,” replied David, “did not have any indication that the author wanted unsimulated sex in it and therefore we didn’t have any. The possibility is that, when the unknown author saw Peter de Rome’s films, a lot of them would also have been soft core. So this is the kind of film we think that the unknown author would have wanted to be made.”

“And can you confirm,” I asked, “that the unknown author was Sir John Gielgud?”

“Of course I can’t,” replied David. “The author is unknown.”

“Can you confirm,” I asked, “that the author was NOT Sir John Gielgud?”.

“I can’t,” said David. “No. I have to accede to the Trust’s demands not only that Sir John Gielgud, for example, did not write the script but also that the script in all likelihood does not exist.”

David and I talked about the film for a blog last October headlined:

BEING EDITED NOW – SIR JOHN GIELGUD’S GAY PORN FILM WHICH YOU MAY NEVER SEE.

Trouser Bar

Faithfully filmed word-for-word from a non-existent script

“People are perfectly at liberty,” David McGillivray said yesterday, “to conjecture who the author may be, but I couldn’t possibly comment.”

“As I understand it,” I said, “last year the John Gielgud Trust were saying that the script they saw was one you could not legally film because they owned copyright on it. But now they are saying that the script they saw did not exist.”

“We are getting,” said David, “into the realms of Alice in Wonderland because, when we spoke last for your blog, I assumed that the film would never be shown, because the Trust had accused me of infringing their copyright.”

“And,” I checked, “at that point, they had seen the script.”

“They saw the script in 2012,” said David.

“This is the script that they say doesn’t exist?” I asked.

“Yes. And I can prove that they saw it, because it’s all in writing. But then, after you and I spoke last year, there was a most extraordinary volte-face. After a considerable silence and having seen the film, the Trust maintained that Sir John did not write the script and that it did not exist.

“My lawyer wrote back and immediately conceded everything and told them that the film would be released unattributed. We re-edited it – we put a caption on the front, we removed all references to the author who was previously alleged to have written the script and…”

“What does the new caption at the front say?” I asked.

“It says that this film is being distributed on the condition that its screenplay is unattributed. It is now credited to ‘a gentleman’… and that is the version that will be screened in London this Sunday at NFT1 if we do not get an injunction served on us.”

“You feel,” I asked, “that you might get an injunction for illegally making a film from a script that does not exist?”

“Anything is possible, John. Every time I switch on my computer I expect another surprise.”

“Why have you not credited the script to Alan Smithee?” I asked.

“It’s probably a copyright name, isn’t it?” asked David. “There were lots of possibilities of who this film could be credited to.”

“The Sunday screening,” I asked, “is during a gay film festival at the NFT?”

Trouser Bar

Trouser Bar – gay porn – coming soon

“Yes. And I want you to be the first to say that it is so appropriate that a film called Trouser Bar is playing at a festival called Flare. We will also be screening one of (director) Peter de Rome’s shorts – one of his most beautiful, called Encounters –  and we will be showing an extract from a film I made about Peter in which he talks about the script that doesn’t exist. The film will then go on tour in the UK in the Spring and I have just had a request from San Francisco. Ultimately, it will come out on DVD.”

“Will some of the cast be at the screening on Sunday?” I asked.

“Barry Cryer has said he will come.”

“Steady,” I said. “Steady.”

“I am very grateful to the Trust,” said David. “Although they have caused me so much stress, if it had not been for them, I would have been faced with trying to sell a soft core sex film written by somebody today’s audience has never heard of. But, thanks to the Trust, thousands of people now know who the alleged author is and they want to see the film. It is what is known as the Streisand Effect.

“If the Trust had done what I wanted, which was to support me, I would have paid a substantial amount for the rights and there would have been no controversy. Now it is a scandal and I think I have been very lucky.”

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Prime Minister enters pig and prize winning sex worker enters politics.

Yesterday's Daily Mail story online

Yesterday’s Daily Mail story online

Yesterday, the Daily Mail alleged that Prime Minister David Cameron, when at Oxford University, put his penis into a dead pig’s severed head as part of a Piers Gaveston Society initiation ceremony.

While trying to guess the source of this story, political blogger Guido Fawkes yesterday mentioned an allegation by the Cherwell student newspaper that Michael Gove (later Secretary of State for Education) participated in a “five-in-a-bed romp” while president of the Oxford Union debating society.

The connection between politicians and sex is long-established.

In June 2013, I blogged about Charlotte Rose when she had just won the Sex Worker of The Year title at the British Erotic Awards. Recently, she won another award – for Recognition to the Industry – from UKAP, the UK Adult Producers’ Network. So I Apple FaceTimed her yesterday.

“It all started last year,” Charlotte told me, “when I did the face-sitting protest. On 1st December, the government created amendments to the 2003 Communications Act so certain activities were now deemed illegal online and face-sitting was one of them. So, on 12th December, I got about 350 people outside Parliament singing Sit On My Face by Monty Python while sitting on people’s faces.”

“Fully clothed?” I asked.

“Fully clothed,” said Charlotte. “It was a cold day. And I did my William Wallace speech at the end: You can try and ban our liberties, but you can never take our sexual freedom. You can see the speeches on my YouTube channel.

We got support from lots of people. I’ve always had support from Lembit Öpik – and from Rupert Everett since I did the Channel 4 documentary Love for Sale with him.

“I did three porn protests. I did the face-sitting one in London; I did the spankathon in Manchester; and I did the whipathon in Brighton.

“I’ve got a new petition coming up which I’ve just started to allow two independent sex workers to be able to work together for safety in regards to brothel keeping. Brothel keeping is against the law. In 2010, Labour looked at allowing 3-4 sex workers to work together. 10,000 signatures would start the ball rolling. 100,000 signatures will hopefully get me a debate if I can get the right people on board with it.”

“You’ve run for Parliament in two by-elections, I said. “Did you decide to do that as a result of the face-sitting protest?”

“No. Clacton-on-Sea was in October last year. It was a great opportunity for me to really talk about sexual freedom of expression. Then, when the second by-election came up in Rochester & Strood in November, I thought Well, I may as well. I quite enjoy it. But that is when I actually realised it’s like standing on top of a mountain screaming what you know is right yet nobody is listening. Unless you’ve got a good wedge of money behind you, you’re nothing.”

Charlotte on FaeTime yesterday with her latest award

Charlotte seen via FaceTime yesterday with her latest award

“Did you meet Nigel Farage of UKIP?” I asked.

“Yes.”

“What’s he like?”

“He’s just like a guy you’d get pissed-up with in a pub. There aren’t many people where I find there’s something I dislike, but he just has such a smarmy way about him. You don’t know if he IS coming across genuine or if he’s just a people-pleaser. I think it’s his mouth. His mouth doesn’t portray honesty. You know how some people have a wiggling corner of their mouth sometimes when they lie? It’s like horses.

“I don’t like horses because their eyes have no iris, so you can’t see where they’re looking. I’m just so wary of a horse – it’s probably one of the only animals where you would never know if it’s going to turn on you. Because it’s got no iris, you can’t read it.”

“Nigel Farage,” I said, “comes across as the man next door, but he was a commodity broker, wasn’t he?”

“Then he’d make a perfect hotelier,” said Charlotte, “because normally anyone who has stocks or assets or is an accountant goes into hotels but they lack the charisma. They probably have the same level of charisma as a caterpillar.”

“Perhaps,” I suggested, “Nigel Farage could become the new Basil Fawlty.”

“Mmmm…” said Charlotte.

“How did you do in the elections?” I asked.

Charlotte made a promotional reel for her Rochester election bid.

“At Rochester & Strood,” Charlotte told me, “Britain First got 13 votes more than me. I can understand that Britain First has got some very patriotic points of view, but the majority of it was a racist, damaging stab and I thought: People would rather vote for racism than the choice of sexual expression.

“Whereas I believe, if people were having more sex, the serotonin levels in their body would be fantastic and everybody would be happy. We wouldn’t have time to be vindictive or have hatred towards people. We would be smiling more.

“Did you read that story about judges in the court system who got sacked for watching pornography at work? I would rather have my court judge watch pornography before my court case. If he’s just had a wank, I know he’s going to be level-headed, very happy and I’m not going to have a problem. I think I would specifically ask that, if I was up in court for anything, I want my judge to go and have a wank before he listens to my case.”

“Now there’s a project for you,” I said.

Charlotte & Erotic Award as Sex Worker of the Year

Charlotte with her 2013 Sex Worker of the Year award

“I’ve got a new project,” replied Charlotte, “called The Sex Avengers. That’s up-and-coming for January. I want to build an army of support – not a hierarchy – activists, then industry, then the public. A huge directory: a one-stop shop that people can go to.”

“If you are an Avenger,” I asked, “what’s your super-power?”

“I think to deliver strength and positivity in my speech. I’ve done a lot of speeches now and I love sharing what’s happening. But, rather than being a speech that moans, I build positivity, I build energy, I build unity. I think that’s my strength: to be able to share energy and build on positivity.”

“You have moved to London recently,” I said. “Why?”

“Well, I was already involved in The Sex Workers’ Opera and the travel time from the West Country…”

“Opera?” I interrupted.

“Yes,” said Charlotte. “The Sex Workers’ Opera. It’s an award-winning show. We’ve been running it since 2013. We put it on at the Arcola in Dalston last year and won the Pioneer Award at the Sexual Freedom Awards which used to be called the Erotic Awards. We are hopefully doing a documentary for Channel 4.”

“Do you perform in it?” I asked.

“Yes. You can see a video of me performing The Dom Song on YouTube. That was in the first ever production.”

“It’s a proper classical opera?” I asked.

“No. It’s more like a hip-hopera. It’s a bit more funky. Two hours. We’ve got scenes about prohibitionists, the Soho raids, the porn laws. It’s 50% sex workers and 50% allies.”

“Sex and music?” I asked.

“I’m also going to be putting on events to promote the Sex Avengers. Ben Dover is a good friend of mine and he plays the drums for a tribute band called Guns 2 Roses. It would be absolutely fantastic if I could find people in the sex industry who play an instrument and we actually form a rock band and go round all these events promoting sexual freedom through music. That would be great.”

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Giada Garofalo on terrorism, porn and comedy – but don’t mention the Mafia

On their way to Shepherd’s Bush tonight (L-R): Luca Cupani, Giacinto Palmieri, Giada Garofalo, Romina Puma

On their way to Shepherd’s Bush tonight (L-R): Luca Cupani, Giacinto Palmieri, Giada Garofalo and Romina Puma

Tonight, I am off to see the London-based Italian language comics of Il Puma Londinese preview their Edinburgh Fringe show at Kate Copstick’s Mama Biashara charity shop in London.

I talked to one of them – Giada Garofalo – about her upcoming Edinburgh solo show, catchily titled Live in The Staff Room (Sex, Fairytales, Serial Killers and Other Stuff)

“You are a Sicilian,” I started. “So you’re not to be messed around with…”

“I am not connected to the Mafia,” she told me. “I am a good girl, though I know people. But I don’t want to talk about that, because that could be really weird.”

“Oh,” I said. “OK. How long have you been in the UK?”

“I have been here for 13 years.”

“Why did you come over here?’

“I ran away. I was going through a tough time. My mama had passed away two years before. I was a bit lost. I was in a very serious relationship. I was going to get married soon.”

“So you came over here to marry an Englishman?”

“No. I came over to run away from my Italian. But it wasn’t just for that. I came for two months, just to refresh my English and, instead, I thought – Hey! – I don’t want to go back home. I don’t want to get married. I want to live a different life. I went back home for a month, left everything, came back to London and here I am.

“The first year, it was tough to find a job and I started to do an unpaid internship in PR because, after my degree, I did a Masters in Italy in Business Communication. Big mistake. It’s not me.”

“What is Business Communication?” I asked.

“Marketing, PR. So I did an internship here and, after a couple of internships, I got a job doing a little bit of PR, then moved into Admin because, at the same time, I had started to write bits because I wanted to be an academic.”

“In what?” I asked.

Serial killer aficionado and terrorism expert Giada

Serial killer aficionado and terrorism expert Giada

“I specialised in terrorism and security. I have written about human rights. I have written about European politics. I wanted to do a PhD. So, while I had my job in Admin here, I started to work with some universities as an external researcher and I was writing at night.”

“For British universities?” I asked.

“No. a couple of Italian ones. We wrote papers that were collected in academic books. Then I did another Masters here in Security Studies and I kept writing about terrorism, theories of the state and blah blah blah. Then I wanted to do a PhD but I didn’t get a full scholarship and thought: I can’t carry on working full-time and doing academic stuff at night. I was tired and I was also a little bit fed up with politics, a little bit cynical, and so, one day, I thought: I’ll do a comedy course.”

“Terrorism to comedy is a bit of a jump,” I suggested.

“Well, not really. You can be interested in different things. I just wanted to do one gig, just for my birthday. I had already said In another life I might be a comedian and my sister said Why do you have to wait for another life? So I did the comedy course. I did the gig. And I really enjoyed it and haven’t stopped since.”

“What is the appeal?” I asked.

“At the beginning, when you start, I think it’s the adrenaline on stage. Now I really enjoy the writing. My favourite moment in comedy is the first time I come out with ten minutes of new stuff and it’s not even polished. Then there is the editing and the things you learn. It’s a learning process. To learn how to be more concise and connect with the audience. It took me nine months to get rid of the microphone stand.

“I had always used to study, analyse, deconstruct. But with comedy – and with photography, which I started at the same time – I’m learning by doing. It comes from the inside. It’s very slow – it’s coming up to seven years now… That’s pretty much me in a nutshell… Maybe more nuts than shell.”

“How would you describe your act?” I asked.

“I do more storytelling than stand-up.”

“And, when you started…?”

“The first gigs I did were about language and being Italian but then I thought: I can’t do that, because all foreigners do that. Then I became aware of this idea that all women in comedy talk about the same things, so I thought: I’m not going to talk about these; I am NOT going to be ‘the female comedian’ or ‘the foreign comedian’. So all I had left was politics and I got into a niche: benefit gigs, the Marxist Festival. But I thought: I want to talk about other things. So I gave up for six months, then I started to do Il Puma Londinese, which was really interesting. It started three years ago and I joined about six months later.

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

After Il Puma Londinese show (L-R) Marouen Mraihi., Giada Garofalo, Giacinto Palmieri, Romina Puma, Alex Martini

“I stopped seeing myself as an Italian, stopped seeing myself as a female – just being me. Humour is more universal than we think, except for specific cultural references”

“Is your Italian-language comedy different from your English-language comedy?”

“No. Though some jokes are different. In Italian, I maybe play more with the language, but 95% of what I say in Italian is what I say in English.

“In Italy, we have this tradition where you do a comedy monologue as a character. In this country, you just do it as yourself. You don’t have to create a character. That’s great, because I can’t act, I don’t know how to create a character, so I can just be me.”

“And your Edinburgh Fringe show this year…?” I prompted.

“I get bored very easily with what I write so, this year, I have decided to go unscripted. I have five bullet points. Every time I go on stage, I will try to say it in a different way and improvise it.”

“When I saw the preview,” I said, “it seemed tight.”

“I’ve got a good memory. The problem is that, if I write down the script, I will remember it word-for-word immediately and, after that, it becomes a lecture. This year, I want to play the show to the room, not just play the show.”

“It is about fairy tales?” I asked.

Giada with some cutting-edge Fringe comedy

Giada with her cutting-edge Fringe comedy

“Fairy tales with a twist, because I talk about the original fairy tales, which were horror stories. We have this idea of fairy tales as Oh! Find your Prince Charming! – Well, in fact, Prince Charming used to rape the princesses.”

“In the original version,” I said, “he did not waken up Sleeping Beauty with a kiss…?”

“No. They were really gruesome. In Cinderella, one of the sisters gets her toes cut off to try to fit in the shoe. Sleeping Beauty is really gruesome.”

“And you have this interest in serial killers…” I said.

“When someone tells me: This is how you should feel about something, I tend to go the opposite way just to see if it’s true or not. And, since I was a kid, I’ve been fascinated by serial killers.

“I think there is a potential serial killer in all of us and, I guess, being a comic means you are a bit of a psychopath. Serial killers lack empathy with their victims and, to find humour, you have to be detached, you need to lack empathy. For a comic, if they have had a good night, they say they ‘killed’.”

“Or,” I said, “the comic ‘dies’ on stage… But surely the performer has to have total empathy to ride and control the audience’s emotions?”

“That’s when you’re performing,” said Giada. “I’m talking about writing. But, even on stage, you have to assert your power over an audience – in a nice way. You do want to control the audience, to manipulate them and that’s what serial killers want. But it’s just comedy. I’m just messing around. I dunno.”

“Your show title also has the word ‘sex’ in it,” I said.

“I discovered porn at a late age,” said Giada. “I think maybe I watched a couple of movies back in the age of videocassettes. But, in the last couple of years, there has been a lot of talk of… I don’t know if it’s because of social media or because there’s been a shift in people… a lot of talk about pornography and feminism and anti-feminism and, I think, in some cases, it’s a bit trivial. So I decided to watch porn.

“Some stuff was really fun; some stuff made me feel uncomfortable. Maybe porn is to other people what serial killers are to me. Where I can explore some darker fantasies without acting upon them. And one of the theories about fairy tales is that they had that same function: to provide a safe place for children to explore their fears and darker fantasies. I dunno. I don’t have an answer. I just have questions.”

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Comedy critic Kate Copstick explains her work on French porn movies

This week’s 30-minute Grouchy Club Podcast discusses porn movies, the British comedy industry and the fact that co-host Kate Copstick got gang-mugged on a bus in Kenya last week. She had been working out there over the last three-and-a-half weeks for her charity Mama Biashara.

Among other things, the muggers stole her laptop computer.

This short extract from the podcast starts when I asked her about the stolen computer.

Grouchy_KateCopstick_JohnFleming

COPSTICK
What it had on it were six of my diaries – my blogs – and the already-rejected script for a French porn movie.

JOHN
Why was it rejected?

COPSTICK
Ahhhhhh…..

JOHN
We should establish you are not a newcomer to the French porn movie industry.

COPSTICK
Absolutely not. I’m delighted to say I’ve been working in and around the professional porn industry for quite some time. In fact, at least 50% of the money that started Mama Biashara came from porn. Given that I’ve rendered myself, for various reasons, pretty much unemployable within the television industry, the only way I get to make money these days is the occasional porn script, which pays 200 quid but, y’know, that buys a lot of pot noodle.

JOHN
90-minute films?

COPSTICK
Yeah. 90 minutes. Marc Dorcel Films, Paris. Anyway, I had written a script, then they changed their minds about what they wanted, so I re-wrote it, then they changed their minds again.

First of all, they wanted it finishing with this woman, this MILF, shagging her best friend’s daughter. Then they wanted her shagging a bloke with whom there was a lot of sexual tension; then they didn’t want the sexual tension; then they didn’t want her screwing her best friend’s daughter; and then they decided the big finish was going to be a gang-bang featuring a very well-known, very beautiful porn actress who’s well-known for not even doing anal.

And this is all for 200 quid.

I am out there saving lives (in Kenya), up to my nipples in slime, poverty and cholera and trying to think: Now, mmm… How do we get round this gang-bang situation.

JOHN
So you are actually writing this in your slum in Kenya?

COPSTICK
In my slum in Kenya, yup.

JOHN
Because you don’t live in luxurious hotels…

COPSTICK
I wish. I look at them as I go past.

JOHN
You did live in a  crate at some point, didn’t you?

COPSTICK
No. I’m living in a container, but it’s made into a little house. But that’s the last time. I can’t live there any more. because they’re demolishing the entire area. That’s what happens in slums. They’re not that permanent. You can go away and come back and find out your house just isn’t there any more.

JOHN
Can’t the crate be moved? That’s the thing with crates. Crates move.

COPSTICK
But it’s not my crate and it is being moved. It’s being moved out to Rongai which is a rural area on the outskirts of Nairobi.

JOHN
So you’re squatting in someone else’s crate…

COPSTICK
So I’m squatting in someone else’s… Well, I’m paying rent.

JOHN
Hold on… To support your charity work, you’re squatting in someone else’s crate in a slum writing porn scripts.

COPSTICK
Yeah.

JOHN
Good. I thought we should establish that.

COPSTICK
I tried Bono but, frankly, I find him morally reprehensible.

JOHN
Is ‘Bono’ some sort of porn term I don’t know?

COPSTICK
Several of them around.

JOHN
Have you ever indulged? You should co-star. You would make more money, surely.

COPSTICK
Indulge? No. I’ve got a couple of friends that I’ve roped in as extras.

JOHN
When you say ‘roped in’…

COPSTICK
Well… When I say male…

JOHN
When you say ‘roped in’…

COPSTICK
… and two females. I said: Do you wanna come along, hang out with some stunningly gorgeous women who are going to be naked all day…?

JOHN
When you say ‘hang out’…

COPSTICK
Well, it was like the Porn Week series that I did (on Channel 4). People came along on a holiday and they got to hang out on a porn set, share a hotel with the cast and crew and then, depending on how close you wanted to get to the action, you could either just sit and watch the scenes being shot or you could be the ‘lube’ guy… you could hold the porn box… There were a couple of movies where there were parts for extras. You got to fondle. A bit of fondling in a monk’s robe.

JOHN
Fluffing?

COPSTICK
No, no such thing as fluffing, John.

JOHN
That’s the wrong word?

COPSTICK
No, no, no. There’s no fluffing. Nobody has fluffed since the 1960s. They can’t afford them.

…AND THUS THE PODCAST CONVERSATION PROGRESSED…

YOU CAN HEAR THE FULL AUDIO PODCAST HERE

WE ALSO TESTED IT IN VISION ON PERISCOPE AND YOU CAN SEE THAT TEST ON YOUTUBE… BECAUSE IT WAS A TEST, THE FRAMING IS DODGY

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Filed under Podcasts, Pornography, Sex

Comic Arthur Smith and critic Copstick talk comedy & hard core pornography

(A version of this piece was also published on the Indian news site WSN)

Moi, Arthur Smith and Kate Copstick chatted on Monday

Moi, Arthur Smith and Kate Copstick chatted in Edinburgh

A couple of weeks ago, I staged five daily hour-long chat shows in the final week of the Edinburgh Fringe.

In the first show, the guests were comedian Arthur Smith and doyenne of Fringe comedy reviewers Kate Copstick (who hates being called Kate). This is a short extract:

_____________________________________________________

ARTHUR: A naked man is funny whereas, with a naked woman, there are different things going on.

AUDIENCE MEMBER: Why?

ARTHUR: Well… because of the evil that is Man.

COPSTICK: A round of applause, please. The feminist contingent has arrived.

ARTHUR: Well, I do consider myself a feminist. When I arrived at university in 1974, there was a woman setting up The Women’s Liberation Society. You only had to think about it. Men had been oppressing women for thousands of years and she was absolutely right.

I always thought that the feminist ethos would continue more. For example, the ‘Ms’ thing. Fair enough. Why does a woman have to announce her marital status on a form by being Miss or Mrs? Men don’t have to. So I just assumed Ms would become standard, but it didn’t.

I assumed that the Feminist revolution, for want of a better word, would continue, but then Lad Culture suddenly appeared, courtesy of Frank Skinner and David Baddiel amongst others. And porn was alright.

COPSTICK: Porn IS alright!

ARTHUR: Yeah, but… I’m not suggesting porn should be illegal, but it’s another area of controversy.

COPSTICK: Have you ever been on a porn set?

ARTHUR: I was asked… Victoria Coren

COPSTICK: Oh, that’s not a proper porn set. That’s middle-class girls playing at making porn.

JOHN: Copstick has proper porn sets.

ARTHUR: I’ve always had this joke about balancing a tray on the end of me knob. It’s an idea that perhaps I could learn to do.

COPSTICK: I was only asking because I have spent quite a long while within the porn industry.

ARTHUR: Have you?

COPSTICK: Yeah.

ARTHUR: I didn’t know that.

COPSTICK: Oh yes.

JOHN: She owns the Erotic Review.

COPSTICK: But I’m not talking about the Erotic Review. I’m talking about hard core porn. Proper hard core, you know? Every industry has its sleazy end. I know nothing about the illegal stuff. I’m talking about… The mainstream porn industry is where the one group of people who can turn up on a set with a list of what they will do and what they won’t do is the women. And that list is adhered to.

A very good friend of mine does everything. She does things probably none of the lovely people here could even imagine.

JOHN: Such as?

COPSTICK: Have you ever seen a cream pie?

ARTHUR: Oh, I’ve heard of that one. There’s a woman I know who’s actually quite well-known who said Ooh, I’ve seen this lovely profiterole. I’ve got me eye on it. I didn’t understand what she was talking about, but… she… she doesn’t eat it. Let’s put it like that.

COPSTICK: My friend does double-anal, she does double-pussy, she does cream pie, she does everything.

ARTHUR: With profiteroles?

COPSTICK: Well, there’s somebody there balancing them on a tray on his dick.

JOHN: And then?

ARTHUR: Is this comedy or porn?

COPSTICK: Oh, it’s porn.

ARTHUR: It sounds quite funny, doesn’t it?

COPSTICK: She’ll do all these things, but she doesn’t like anyone playing with her nipples. So, on her list of things the guys are not allowed to do, none of them are allowed to go anywhere near her nipples, no matter what else they are doing… And, if they do, she can stop the scene. The women are not downtrodden in porn… I haven’t convinced you, Arthur?

JOHN: Few people know you’re in the erotic industry.

COPSTICK: I thought we were talking about Arthur.

JOHN: Few people know you were in the erotic industry, Arthur.

ARTHUR: Mr Knobbo? He never really caught on.

JOHN: There was a lot of nudity surrounding Malcolm Hardee in the 1980s for no reason I could figure out except The Roman In Britain was getting publicity.

ARTHUR: Well, like I said, naked men are funny.

JOHN: Why?

ARTHUR: Kate will tell you.

COPSTICK: It is the danglies. Little squishy things that dangle are quite funny.

ARTHUR: Well, the testicles and penis are slightly silly things. The rest of your body doesn’t have things hanging off. You look at them and you think What the hell are…

COPSTICK: One wonders what Mother Nature was thinking… And there are an increasing number of chaps in really quite middle-of-the-road comedy shows who, at the end of the show, just randomly get their knobs out.

If I was male and I was going to get my knob out, I would want to know that people were going to have to gasp Whoaaah! but none of them are. Maybe it’s just a comedian thing. They’re all…

ARTHUR: All comedians have small knobs?

COPSTICK: Yeah.

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Steve Coogan to play porn baron Paul Raymond in new Winterbottom movie?

Apparently plans are “well advanced” for Steve Coogan to play British porn baron Paul Raymond in a film directed by the extraordinarily prolific Michael Winterbottom – they previously worked together on the excellent 24 Hour Party People in which Coogan impersonated Tony Wilson to a tee. I encountered Tony Wilson when I was working at Granada TV and Coogan’s voice was uncannily spot-on though I found the hair strangely unsettling. Paul Raymond had a hairstyle even more extravagant than Tony Wilson, so this could be the start of a movie hair trilogy.

The planned new movie – currently called Paul Raymond’s Wonderful World of Erotica – is based on Paul Willetts’ biography Members Only: The Life and Times of Paul Raymond.

Willetts said he originally wanted to entitle his book Panties Inferno after a long-ago American burlesque revue but, mystifyingly, there were legal problems.

I heard about both the planned movie and the book title last night at a publicity event for the book on a suitably sweaty night in Soho. Other long-ago US burlesque show titles loved by Willetts because they tried to make strip shows classy were Julius Teaser and Anatomy & Cleopatra.

Those were the days.

Paul Raymond also tried to make strip shows seem classy – “nudity without crudity” was the phrase he used. And he is a perfect movie subject – larger than life and with pretensions beyond his art. The best biographies are often akin to naff 1950s travelogues:

Paul Raymond – Land of Contrasts…

When he was 13, he wanted to be a Catholic priest – so maybe his later porn career ironically turned out to be less sexually seedy than it might have done. And, in latter days, he bankrolled Mark Thatcher’s failed motor racing career. Perhaps as a thankyou, he was once invited to Downing Street by Prime Minister Margaret Thatcher as “an exemplary entrepreneur”.

When he got rich, he inevitably bought a boat and even tried to give that class by naming it ‘Get ‘em Off’ – but in Latin. His girlfriend Fiona Richmond’s mother was, at the time, a teacher in a convent and got the nuns to translate the words into Latin, though quite how she managed this without suspicions being aroused remains a complete mystery to me.

I only went to the Raymond Revuebar once, in the 1980s, when it was hosting alternative comedy shows. My clear memory is that regular comedy evenings were being run there by a young Eddie Izzard, though a quick Google tells me it was the Comic Strip.

Who knows?

In its early days, alternative comedy in the UK overlapped with dodgy Soho clubs.

In his early days, before the Revuebar opened, Paul Raymond had been a theatrical agent/producer with a winning formula he called ‘the comic, the conjurer and the girl with her tits out’.

In an interview in a 1969 LWT series called On The Record, Paul Raymond was interviewed by Alan Watson and rather bizarrely compared stripping to stand-up comedy. He said (I paraphrase): “Comedians tell gags to get laughs. Stripping is like comedy. If the act isn’t having the desired effect, then the stripper has to work harder.”

No wonder Margaret Thatcher thought he was an exemplary entrepreneur.

But the character Paul Willetts chatted about from the Soho ‘scene’ of that time who most interested me was not Paul Raymond but his acquaintance Paul Lincoln, an Australian who made his name in the ring as wrestler Dr Death, then started and co-owned the legendary 2i’s coffee bar in Old Compton Street, Soho – birthplace of UK Rock n Roll.

Paul Lincoln died in January this year but, back when Paul Raymond was starting his seminal Revuebar in Walker’s Court in 1958 – allegedly the first strip club in Britain – Lincoln was promoting wrestling bouts around the country as well as running the 2i’s.

The two Pauls – Raymond and Lincoln – had a falling-out over an allegedly genuine German aristocrat – a baron – who wrestled on Lincoln’s UK circuit. The baron lived in a flat above the 2i’s and had a pet cheetah which he took for walks in Hyde Park.

These were innocent days.

The Raymond Revuebar, at the time, had novelty acts performing in its entrance area and Raymond effectively nicked the baron from Lincoln and started having wrestling bouts in the Revuebar entrance. Not only that, but he got the baron to train his cheetah to join the strippers on stage and undo girls’ undergarments with its teeth.

These were, indeed, the much more innocent, golden days before Health & Safety rules kicked in.

The Raymond Revuebar also reportedly featured a horse removing girls’ underwear with its teeth – sugar lumps were attached to relevant parts of the underwear to encourage the horse.

What encouraged the cheetah or how they got the horse into the club I don’t know.

Some of life’s most intriguing questions are doomed never to be answered.

(There is a follow-up to this blog HERE; and the comedy industry website Chortle picked up on this blog as a news item HERE.)

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Is “Killer Bitch” worse than hardcore pornography and what does the dead poet William Blake know about it?

The actor Jack Nicholson said of film censorship: “The reality is, if you suck a tit, you’re an X, but if you cut it off with a sword, you’re a PG.”

As if the power of the tabloid press to overcome common sense and logic needed to be proved, consider the case of the movie Killer Bitch. (I was always a fan of early Roger Corman movies…)

This much-pre-publicised modern-day B-movie was attacked before it was even finished as “vile” porn by newspapers from London to Sydney to New York to New Delhi (yes, literally those places) by journalists who had never seen even a single frame of it. Indeed, the attacks started in the News of the World just two weeks after shooting began: subsequent news reports assumed what had been written the the News of the World was true.

Despite this, when the movie was eventually submitted to the British Board of Film Classification (the UK film censors), I didn’t actually expect much of a problem. It was a  low-budget film, so there was no wildly explicit gore – lots of fake blood but no OTT gore, no bullets exploding on bodies, no exploding heads – and the sex, it seemed to me, though much hyped, was not especially explicit – not by current standards.

There IS a sequence in the film which shows actual sexual intercourse but it was edited soft-core and is far less explicit than many a Hollywood studio movie. Almost everything that is seen to happen in Killer Bitch had been passed by the BBFC in a more extreme and more realistic form in previous films and, since 2002, the BBFC have in fact been passing hardcore sex scenes for general distribution. Why the Daily Mail has never picked up on this as a sign of the utter disintegration of British moral culture I don’t know. I think the BBFC started doing it so quietly that, by the time the Daily Mail twigged, it was old news and not worth attacking.

As it turned out, though, there were major problems with the British film censors over Killer Bitch. We were told the BBFC was very concerned at the “content of the movie” and it was screened at least four times to various combinations of censors, eventually including the Chairman of the Board. I suspect it was just a case of a movie with a high-profile tabloid reputation being referred-up because each person was too scared to take the risk of passing it himself/herself…. At one point, a BBFC Examiner sent an e-mail to the UK distributor saying it was “more likely than not” that there would be several cuts.

I was amazed when I found out what they claimed the problem was. We were told there were two areas of concern:

The first was a glimpse of part of the erect shaft of porn star Ben Dover’s penis at the beginning of the movie. This gobsmacked me. Apart from the fact neither the director nor I had ever noticed this and the censors must have gone through it frame by frame with a magnifying glass (no reflection on Ben Dover), I have still never spotted the offending shot in the movie. The BBFC have been giving 18 certificates to hard core sex scenes (erect penises; visible sexual penetration) since 2002. This was, apparently, a glimpse of part of a shaft.

The second problem was the scene which had got the tabloids worldwide into such a tizzy when (without ever having seen it) they had denounced it as a ghastly and “vile” rape scene. What the BBFC was worried about was not the actual sex scene itself (which was not a rape scene at all) but the pre-amble to the sex scene, in which leading lady Yvette Rowland initially resists Alex Reid then melts in his arms.

I understand the BBFC’s worry to an extent though, really, it’s not much more than 1950s/1960s James Bond sexism – a rugged hero takes woman roughly in arms; kisses her; she resists very briefly then melts in his mouth. Arguably sexist, but repeated a thousand times in other movies: hardly a hanging offence. Especially considering what the BBFC have been passing uncut since 2002. This is one description by  critic (not by me) of Willem Dafoe’s 2009 arthouse film Antichrist which was passed uncut by the BBFC:

“After knocking him unconscious, Gainsbourg bores a hole in Dafoe’s leg with a hand drill and bolts him to a grindstone to keep him from escaping. Then, she smashes his scrotum with some sort of blunt object (the moment of impact happens slightly below the frame). We don’t actually see his testicles become disengaged from this body, though it’s implied. Next, she brings him to a climax with her hands and he ejaculates blood (yes, it’s shown). But that’s not all! Later, in an extreme closeup — lensed by Oscar-winning Slumdog Millionaire cinematographer Anthony Dod Mantle! — Gainsbourg cuts off her own clitoris with a pair of scissors.”

The girl’s masturbation of the erect penis is in close-up and is real plus it’s an erect penis that is ejaculating blood.

Killer Bitch and Ben Dover’s imperceptibly-glimpsed bit of shaft should almost get a U if Antichrist gets an 18…

There IS a rape scene in Killer Bitch (which in no way glamorises nor diminishes the horror but it is not the scene the tabloids got into a tizz about). And someone DOES get his cock cut off in vision. But apparently neither of these scenes worried the censors.

What seems to have worried them was the movie’s reputation. It worried everyone. It was, ironically, passed uncut by the BBFC, but banned from display on the shelves of ASDA, Morrison’s, Sainsbury, WH Smith, Tesco and others (although most of those sell it online). It was even withdrawn by iTunes after two days on sale for rather vague reasons. HMV remained a sole beacon of high street retail sanity and online retailers like Amazon and Play.com never had any problem.

Is the movie Killer Bitch really so much worse than hardcore pornography? Or did tabloid perception overcome reality?

William Blake wrote: “If the doors of perception were cleansed everything would appear to man as it is.”

But, then, what the fuck did William Blake know about anything?

Although he did know a lot about dreams… and I do think it’s slightly odd no-one has noticed Killer Bitch can be seen as an OTT surreal dream by the heroine who may or may not awake, terrified, from unconsciousness early in the movie.

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