Comedy legend John Dowie: changed by Spike Milligan’s Bed-Sitting Room

John Dowie talked to me near Euston, London

John Dowie is difficult to describe. Wikipedia’s current attempt is: “a British comedian, musician and writer. He began performing stand-up comedy in 1969.”

His own website describes him as: “Not working. Not writing. Not performing. Not Twittering. Not on Facebook. Not on Radio. Not on TV. Not doing game shows, chat shows, list shows, grumpy-old whatever shows. Not doing quiz shows. Not doing adverts. Not doing voice-overs for insurance companies/banks/supermarkets/dodgy yogurts.”

The synopsis of his up-coming autobiography starts: “If you’re thinking of becoming a stand-up comedian (and who isn’t?) then here’s some advice: don’t start doing it in 1972. I did, and it was a mistake.”

I know John Dowie because he contributed to Sit-Down Comedy, the 2003 anthology of comedians’ (often dark) short stories which I edited with the late Malcolm Hardee.

A foul mouth, a foul mind and a bomb

John’s was the story of a Northern comedian who has a foul mouth, a foul mind and a bomb. The Daily Mirror called it: “a wrist-slashingly brutal account of a Bernard Manning-esque comic who plans blood-thirsty revenge. Disturbing? Very.” The Chortle website called it a “breathlessly entertaining yarn”.

Now he is crowdfunding his new book The Freewheeling John Dowie.

“How long are you crowdfunding for?” I asked him.

“They reckon the average book takes about six weeks or two months.”

“Have you started writing it?”

“I’ve already written it!”

“So the crowdfunding is just for the physical creation of it?”

“Yes, you have to reach a funding target for the printing process to begin.”

“So what have you been doing,” I asked, “since the triumph that was Sit-Down Comedy?”

“I have been riding my bicycle.”

“Where?”

“France, Holland, Spain, Italy, Ireland which is horrible, Wales, up and down England.”

“I like Ireland,” I said.

“Bad roads,” said John Dowie.

“And you are publishing your autobiography by crowdfunding…?”

The Freewheeling John Dowie, crowdfunding and bicycling

“Well, it’s not actually an autobiography,” John corrected me. “It’s like an autobiography, but with the boring bits cut out. There is no stuff like Birmingham is an industrial town in the heart of the Midlands. It’s got autobiographical elements. But, if you are a nobody such as I, then the only way you can tell a story about yourself is if it is a story that stands in its own right.”

“So how do you want The Freewheeling John Dowie described?” I asked. “A bicycling autobiography?”

“Yeah,” said John. “Well, if you ride a bike and you’re in a quiet piece of the world, what do you do? Your mind is free to wander and, as it wanders, you find yourself going from place to place in your mind that you were not expecting to go.”

“So why,” I asked, “did you decide to write your autobiography now?”

“I’m 65 and I’ve been retired for 15 years,” explained John. “And, if you’re 65, you’re fucked. So I thought: If I’m fucked, I’d better spend my time working because I’m of more use as a fucked-up performer than I am as a fucked-up retiree.”

“You were born in 1950?” I asked.

“Yes. Just in time to miss Elvis Presley and just in time to get the Beatles.”

“Did you approach a ‘proper’ publisher for the book?” I asked.

“No… Well, I think Unbound are more proper than publishers, because they care about the things they make. A friend of mine has a client who’s a comedian who went to a voice-over studio to record her book and was regaled by the engineers with all the comedians who came in to read the books they ‘wrote’ but had never even read yet – and finding mistakes in their own books – Ooh! My mother isn’t called Dorothy! Those are books done by ‘proper’ publishers.”

John Dowie – a living legend from the early alternate days

“Is there what they call a ‘narrative arc’ in your cycling autobiography?” I asked.

“Well, it begins and ends with a Spike Milligan story.”

“I met him once,” I said. “I think he must have got out of the wrong side of the bed that day.”

“I think,” John said, “that he got more crotchety as he got older. When I met him, he was very decent to me. I was hanging around backstage after one of his shows. He was touring a play which he wrote with John Antrobus – The Bed-Sitting Room. People talk about taking LSD for the first time and how it changed their life. Watching The Bed-Sitting Room changed my life. It was like a door had opened.”

“Why?” I asked.

“Because I had not experienced anything like it before. Live comedy. I was 15 or 16.”

“So you didn’t know what you wanted to be?”

“No.”

“And you decided to be Spike Milligan?”

“Yeah. That’s more or less it, yeah. I became Spike Milligan for a period. Apart from the talented bits, obviously.”

“What happened when you stopped being Spike Milligan?”

“I got my friends back.”

“Why? Because you were rude as Spike Milligan?”

“No. Just not funny.”

Naked Noolies and I Don’t Want To Be Your Amputee

“And then, I said, “you became one of the living legends of the original Alternative Comedy circuit.”

“Well,” said John, “I’m living. That’s halfway there.”

“But you are,” I said, “one of the originators of Alternative Comedy.”

“I don’t think so,” said John. “I don’t think I’m one of them and it’s not as if it wouldn’t have happened if I hadn’t been there. I was coincidental more than anything. It wasn’t as if anybody saw me and thought: Oh, let’s start a movement. I considered myself to be in the same field as Ivor Cutler and Ron Geesin.”

“Wow!” I said. “Ron Geesin! I had forgotten him!”

“Yes,” said John. “He was great. He was a John Peel discovery. Ron played Mother’s Club in Birmingham where John Peel’s Birmingham audience used to go religiously to see the acts John Peel played on the radio. Ron Geesin came on and did his first number on the piano and the place went fucking barmy and Ron Geesin said to the audience: Listen, nobody is THAT good.”

AOK Factory Records’ first release: FAC-2

At this point, farteur Mr Methane, who was sitting with us, piped up: “Weren’t you involved with Tony Wilson years ago?” he asked. “On Factory Records.”

“Yeah,” said John. “The first one. The first Factory Records release. FAC- 2… FAC- 1 was the poster. I was on the same record as Joy Division, Cabaret Voltaire and the Durutti Column. It was a double EP.”

“Ah!” I said.

Then he said to me: “It’s all very good if you know everything about comedy, John, but, if you don’t know about pop music…”

“Why should people crowdfund your autobiography?” I asked.

“Because I’m fuckin’ fantastic,” he replied.

I tend to agree.

If you want to crowd fund the book: https://unbound.co.uk/books/the-freewheeling-john-dowie

Award-winning comedy performer John Robertson: Blood and Charm and S&M

John Robertson in Dean Street, Soho, yesterday afternoon

Comedy performer John Robertson was brought up in Perth, Australia and now lives with his wife Jo Marsh in London. He is probably best known as creator of The Dark Room show. I had tea with John yesterday afternoon in Soho. He was on his way to the Alternative Comedy Memorial Society’s British Comedy Awards to receive an award.

“What is tonight’s award for?” I asked.

“The awards which are being given out,” he told me, “are not for anything. People were booked for the evening on the basis of whether they wanted to present or receive an award. I quite like the idea of going to an un-real awards ceremony to not receive an award. So I have to go and say Thankyou for something that isn’t occurring.”

“Have a pen,” I said and gave him a pen. “It’s an award from my blog.”

“I always take the title of your blog – So It Goes,” said John, “to be a Kurt Vonnegut reference.”

“Yes,” I said. “Also, in my erstwhile youth, Tony Wilson – you know the movie 24 Hour Party People? – he used to present a Granada TV music programme from Manchester called So It Goes. Presumably also a hommage to Slaughterhouse-Five.”

“Manchester,” said John, “is a place I never end up in.”

“At that time,” I said, “it was nicknamed Madchester. I had the chance to go to Tony Wilson’s Hacienda club a few times but never went because I thought it was probably some naff disco. It wasn’t, of course. I should have gone.”

“In Perth,” said John, “I used to go to a Goth club called Sin and everyone there was crapping on about how much better it was when it was called Dominion.

“But I really preferred Sin cos Dominion I just associated with… Dominion was where my really dumb 14-year-old friends were getting in without being carded and then coming back having done some dull, faint half-S&M with each other.”

“S&M?” I asked.

“Yeah,” said John. “A little bit of the old bondage. The third time I went to Sin, I took a crucifix and all the girls kept trying to sit on it to prove a point. They were trying to do The Exorcist.”

“How old were you?” I asked.

“About 18.”

“Aged 16,” I asked, “what did you want to be?”

Aged 16, John Robertson wanted to be lawyer

“I wanted to be a lawyer, because I understood that’s where the money was. But, at school, someone’s dad was a very well-known barrister. He came in, gave us a talk and just revealed himself to be the most dull man on the planet. So I gave up on that dream. It was a bit dry and boring.”

At this point, I started to take some photographs of John.

“Let me see?” he asked. “Oh, can you send me that one? I like the crucifixion imagery behind me.”

“What am I going to write a blog about?” I asked. “What have you been up to?”

“Last week,” said John, “I went down to the face-sitting protest outside Parliament.”

“That was,” I checked, “something about protesting against restrictive new pornography laws?”

“Yes.”

“Did you sit on a face or were you sat on?”

“I watched,” said John. “I defaulted to my usual position. There was some Dutch TV talk show host running around inviting people to penetrate themselves with his microphone. But the whole thing was really deeply charming. All these very English people: We’re here to protect our rights. We’re being quirky and eccentric. It was the most English style of protest I can imagine. There was a woman wearing jodhpurs and tweed sitting on someone’s face while drinking a cup of tea.”

By this time, John was drawing with the pen I had given him.

John’s drawing of a man with a tie & big nose

“All I can do is just variations of men in a tie,” he told me. “That’s all I do. Men in ties.”

“Looks a bit like a dodgy Fagin,” I said.

“When I was a kid in Perth and used to draw people,” said John, “I was always roundly criticised because I gave everyone a nose that looked like a dick. Just a big phallic nose. And I still do. Everyone ends up with this distended, bulbous thing.”

“What was growing up in Perth like?” I asked.

“When I was a boy, there was a news report which started: If you were to take a rifle and fire it down St George’s Terrace at midnight, you would normally hit nothing. Except last night, when you would have hit a stolen Army personnel carrier. A guy had broken into the barracks, stolen an Army personnel carrier and just driven it through the completely empty middle of Perth.”

“Nowadays,” I said, “that would go viral on YouTube.”

“I once watched a documentary,” John continued, “where a porn star was asked: What do you like? And she said: Well, I like stuff in my mouth. Because, since I was a child, people have been shoving things into my mouth. The interview didn’t take it any further than that but she said to cope with it she fetishised it.”

“Shoving things into her mouth?” I asked.

“Whether she meant dummies or dentists or abuse I don’t know,” said John. “I hope it wasn’t abuse. I took it to be more of a dental thing. Perhaps she just had a particularly bad reaction to oral dental work and needed to build something to cope with it. Strange, isn’t it?

This morning’s newspaper headline in London

“I woke up this morning to news of the massacre in Pakistan and I thought: That’s too difficult. 132 schoolchildren have been murdered. That’s too hard to process. But imagine the luxury of being able to say: That’s too hard to process. I mean, Life is too hard to process.

“I also just read the note points – the summary – of the CIA torture report and, as someone who’s into S&M, that makes very uncomfortable reading. You’re thinking Oh, that’s dreadful, but getting a faint tingle. S&M is a combination of the things that horrify you and sex.”

“Are you into S&M?” I asked.

“Hugely,” said John. “Hugely. I’m a bondage man.”

“Is it OK to quote that?” I asked.

“Oh yes,” said John. “I went to the face-sitting demonstration. I wasn’t there for no reason. I’m fascinated because, since coming to London, through all this ‘British repression’, you just have to say You know what I like? Bondage and other people will say Oh, yes, actually, I do too… and everyone comes out.”

“It’s not my thing,” I said. “I’m into M&S not S&M. I think it may be an English rather than a British thing. The cliché explanation is that it’s the English public school system does it…”

“I’ve been to a Scottish bondage club,” said John. “They were playing The Mighty Mighty Bosstones’ The Impression That I Get, which is a great song for a bondage club.

“But the thing about English public schools… I went to an all-boys school in Australia and, on the first day of being in the ‘big school’, we were not given lockers, we were given these cages that were roughly the size of a boy. Within about an hour, a kid called Cayden had been shoved in and locked in one. He ended up getting stabbed with various things.”

“You should do an Edinburgh Fringe show about it,” I suggested.

“I did,” said John. “In 2012. It was called Blood and Charm.”

“Well,” I said, “that destroys any pretence I might have that I know what’s happening or happened at the Fringe. Why Blood and Charm?”

“I saw a show done by a very dear friend of mine and the opening line was: The things in this show didn’t happen, but that doesn’t mean they’re not true. So I thought: What if I take a whole bunch of true stuff and I complement it with real fantasy nonsense – a lot of bloodthirsty fairy tales and things like that – and treat both with the same disdain? So I started with: My father killed himself.”

“Did he?”

“Yes, my dad hung himself. So I thought I’ll weave that through and do this Hansel & Gretel thing and then this thing that sounds like it’s real and which ends with this zombie vagina and then…”

“What’s a zombie vagina?” I asked.

John Robertson – Blood and Charm at the Edinburgh Fringe

“The vagina of a zombie. It kills you. It’s the end of a story where this man looks at this woman and then suddenly this hand shoots out of her vagina and gouges out his eyes and pulls him in and eats him, really chomps on him.”

“Well,” I said, “I could say We’ve all been there… but…”

“All I ever wanted,” said John, “was to be isolated and left with my thoughts that may or may not be real.”

“Eh?” I asked.

“I thought, if I said that, it would make a good end to your blog.”

“It possibly needs explanation,” I suggested.

“I just wanted to be left alone with the people I love and the people I want to do strange and terrible things to and have a great time and make a great deal of money telling you what I think.”

You meet the most extraordinary people at the Edinburgh Fringe

Everything at the Edinburgh Fringe is inter-linked.

Do I look Jewish?

American Jewish comedian Lewis Schaffer had a bit of schtick in his Edinburgh Fringe show last year which he is not using this year – well, he won’t after reading it here.

He would ask a man in the front row of his audience: “Are you Jewish?”

Depending on the reply, he then said either “That’s great,” or “That’s terrible,” and added, “It must be terrible to LOOK Jewish and not to BE Jewish.”

Yesterday I was crossing the Royal Mile in Edinburgh and a still small voice asked: “Are you Jewish?”

Two bearded men were standing at a table dressed in black and wearing skull caps.

“No. Sorry,” I replied.

Three steps further on, I reconsidered my reply and turned back.

“But what would you have said if I were Jewish?” I asked. “What are you selling?”

“Nothing, But are you Jewish?”

“No, but I know someone who is a Jewish American comedian.”

The young man on the left was smiling. The older man on the right was not smiling; he never smiled. I think he was probably Israeli rather than Jewish.

“You know someone who is Jewish?” the man on the right said suspiciously.

“Do I know someone who is Jewish?” I asked. “Yes. He’s a New York Jewish comedian.”

“Give him this, then” the jollier Jew said, handing me a leaflet.

“He can come on Friday,” the unsmiling presumed Israeli said reluctantly.

The leaflet said:

Come join Chabad for your Shabbat live experience!

All in one Shabbat Dinner, Fun, Laughter, Friends, Great food. Lots of L’chaims and much more.

I was tempted to convert.

There was a Jewish thread running through the day.

A little later, I got chatting to highly charismatic part-Iranian actor-comedian Jody Kamali from Bristol who told me he had to get an Iranian passport and change his passport name to Sam (well, that’s what it sounded like) when he visited Iran otherwise they would not have let him in; there was a drawback to this because they might then have forced him to do three years military service in the Iranian Army.

That is not part of the Jewish thread to the day, but I also got chatting to Jody’s director. I have no idea what his name is. That is one of the quirks of the Fringe – you can have terribly interesting conversations with fascinating people but forget to ask their names. Anyway, he had a moustache, was tall and was not part-Iranian…

We are back now to being Jewish… well, Jew…ish.

What he was – indeed, is – is Jewish-Scottish-Portuguese; he speaks Portuguese to his mother and is living in dream accommodation while in Edinburgh – the Austrian Consulate.

I forgot to mention he is also part German/Austrian. His grandparents were Jews in Germany before the War. They managed to get out when Hitler was on the rise and moved to Austria. The words ‘frying pan’ and ‘fire’ spring to my mind, but, throughout the War, they pretended to be Catholic and went to a Catholic Church.

“So I’m Jewish and I’m a Catholic,” the director said to me, shrugging. “The guilt, my dear! the guilt!”

You do meet extraordinary people with extraordinary stories at the Fringe and Edinburgh can be a very small place, throwing up one degree of separation.

I spent last night with Charlie Chuck.

I will re-phrase that.

I spent yesterday evening with Charlie Chuck, starting at a launch for the SpaceUK venues at Surgeon’s Hall and I had a fascinating chat with their sound supremo Wayne. I forgot to ask his surname. This is the Fringe. He had vivid stories of growing up as a Forces child – his father started in the Forces on the Borneo campaign and ended with the Falklands. As a child, Wayne wanted to be a Queen’s Messenger because it was well-paid and meant travelling the world with a briefcase handcuffed to your wrist.

He has an extraordinary knowledge of the ethnic ebbs and flows of history. You would think he was a history teacher in ‘real’ non-Fringe life. In fact, he owns a record label in Manchester. He says there are 13 record labels in Manchester and he vaguely knew 24-Hour Party Person Tony Wilson – now there was an extraordinary person if ever there were one; I encountered him very peripherally at Granada TV in the 1980s.

Wayne also knew late comedian Malcolm Hardee’s brother Alex, a music executive… as did SpaceUK boss Charlie Pamment who, in one of his former  professional incarnations as an agent, remembered putting Malcolm Hardee on at the Raymond Revuebar in London’s Soho. Now that must involve anecdotes worth dining out on!

One can but hope against hope that Malcolm turns up as a character in Michael Winderbottom’s planned movie Paul Raymond’s Wonderful World of Erotica.

Charlie Pamment told me that his SpaceUK venues are staging the largest number of shows at this year’s Fringe – 229 separate productions. Other operators have more venues, but SpaceUK has more shows.

After that, Charlie Chuck and I we were off to the Laughing Horse Free Festival launch party at the Counting House, future scene of the Malcolm Hardee Awards Show on 26th August.

Never underestimate the power of a random blatant plug.

The Laughing Horse Free Festival launch party seemed to be less a party than a full-scale rehearsal for the 2012 Olympic opening ceremony staged in a pub complex on a hot night. The throngs were so large that I never did find comedian Eric, whom I was supposed to meet. A regular audience member at Malcolm Hardee’s Up The Creek club in Greenwich, he was persuaded by Malcolm to become a stand-up and used to be a submariner.

But I did bump into singing Hitler comic Frank Sanazi and Malcolm Hardee Cunning Stunt Award inspiration Gill Smith and Scots comic Keara Murphy who, like Janey Godley, is not playing a full Fringe show this year but has picked up seemingly endless one-off gigs in town.

The Free Festival launch party was some crowded sweatathon which seemed to merge together an extraordinarily large family birthday party, the Black Hole of Calcutta and a Swedish sauna. I stuck my head into the performance area – the Ballroom – looking for Eric, and you could have grilled a sausage by simply holding it in mid-air over the audience.

Comedian, blogger and sometime professional photographer Ian Fox was taking photos for Laughing Horse at the event and, for a time, had to abandon taking photos in the Ballroom because his lens steamed up. He showed me three photos which he said had been taken within three seconds.

The first showed the audience but with a cream discolouration area rising from the bottom.

The second was starting to be blobbily out-of-focus all-over with the condensation.

The third was an abstract of giant blobs – taken at a point at which the water particles had overwhelmed the lens.

I felt very much like the lens.

It is easy to be overwhelmed at the Fringe.

Then my phone rang.

It was Malcolm Hardee’s son Frank.

“I thought you were in South Korea,” I shouted.

“I’m back for a few days,” he told me. “Then, next week, I am off to see Poppy in Palestine.”

Poppy is Malcolm Hardee’s daughter.

The late great would have been chuffed his kids are globetrotting.

Let us not get into any discussion of whether or not a passing reference to Palestine continued the day’s Jewish thread. To quote Malcolm:

“Fuck it! It don’t matter. There are people starving in Africa. Not all over. Because, round the edge… fish.”