North Korea – A land of nuclear bombs and satellite launches, but no electricity

North Korea reveals the face of the evil Americans

I look out of my hotel window in the early morning and see a Turner sunset with two tall Dickensian chimneys, a yellow golden sun, the indistinct nearby river and a bleak landscape in a misty, disfiguring white haze. It is The Fighting Temeraire with pollution. It is Pyongyang, capital of North Korea.

We are driven south in our coach on long, long, decidedly dodgy potholed-pitted roads to the DMZ – the Demilitarised Zone between North and South Korea. The countryside is eerily empty as we pass through it, as if all human life has been hoovered up by some giant alien vacuum cleaner.

I would like to come back here with a farmer who could explain what I am seeing. The barren brown supposedly agricultural land looks barren to me, as if the regime has over-farmed it or something, but I am no expert. To my inexpert eye, something has gone very wrong; no-one is farming the occasionally slightly-ploughed fields for mile after tens of miles.

If your land is devastated, you would normally invite in specialists with expert advice but North Korea is no normal country and has, I suspect, screwed itself.

On the one hand, they have lived in self-imposed isolation for decades. On the other hand, the Great Leader Kim Il-sung thought up his superficially-attractive philosophy of The Juche Idea.

This basically means the country and everyone in it should be self-reliant. But, this being North Korea – a land which is not of Planet Earth – the Juche Idea is counterbalanced (or negated) by the idea that the Great Leader Kim Il-sung and subsequently his son the Dear Leader Kim Jong-il and now the grandson the Supreme Leader Kim Jong-un go round the country giving on-the-spot advice.

This is a paranoid country with a population indoctrinated since birth into worshipping – and that is not too strong a word – the ruling family. Nothing will happen until the current Leader comes to a factory or a field or a region and says, “I think we should produce more cabbages/paperclips/babies.” Once that is said, a plaque goes up commemorating the visit and (certainly in Kim Il-sung’s day) the fact that the Great/Dear/Supreme Leader gave on-the-spot advice.

How the advised people are going to produce more cabbages or paperclips, of course, is up to them. I imagine they can cope with the details of complying with any advice to have more babies.

But, for whatever reason, the countryside on the long, rough road to the DMZ at Panmunjom looks devastated. And this is dangerous.

North Korea had actual famine in the 1990s and currently the proud, independent nation which follows the Juche Idea of self-reliance and accepts no help from others, gets food aid from its arch-enemy the United States in return for (in theory) not furthering its nuclear ambitions and arsenal.

But picture a country with no real knowledge of how diplomacy, international relations or the outside world actually works. Picture this country with a devastated farming industry, a situation so desperate that they have to go ask their arch nemesis for help. This is a country whose leaders, if they have their noses tweaked or their pride dented even slightly more or unintentionally more, will react with sudden, unpredictable behaviour which is totally OTT. If they think they are being treated like children, they will react like children with no concept of any rules or what is a normal or balanced response.

On our way to Panmunjom, at about 10.30am, we are told that, this morning at 8.00am, North Korea successfully launched its rocket – the one the West thinks is a test for an ICBM – carrying what our young female guide called “our satellite number 3”.

At Panmunjom, next to a small block of gents and ladies toilets, up a slight slope, I see a tall man with his back to me facing a tree. It is evident he is pissing on the tree. A guard spots him. Two soldiers bring him back from the tree. Two non-uniformed men are called. They look shocked. The man’s Western tour guide is called. Much worried discussion ensues. The man looks slightly triumphant. They are standing perhaps 20 feet away from me. It seems, from talking to other people, that the man is an American.

In certain circumstances, it is possible to agree with the North Korean view that the Americans are, en masse, barking at the moon.

Eventually, as we are taken down to the actual border itself, the man seems to be let off with a severe reprimand. But I would pay to be a fly-on-the-wall when he tries to leave the country and the border guards go through his belongings.

At the border, things have changed slightly since I was here in 1986, but only slightly.

There are still three blue huts where peace negotiations have taken place since the early 1950s. In the middle of a central table in the middle hut, negotiations took/take place. The border runs through the middle of the table; the North Koreans sit on one side; the South Koreans/Americans sit on the other side. The huts are painted by the Americans. They are blue because that is the United Nations colour but, since I was here last, it is a slightly darker blue. Perhaps this has been dragging on for so long that they have forgotten why the huts are blue.

When I was here in 1986, opposite a large stone North Korean building, stood a small South Korean pagoda on the upper of level of which stood an American G.I. with what, I presumed, was a directional microphone. Today, the pagoda has been moved to the left (as seen from the North Korea side) and a large building erected to rival the North Korean building.

When I was here last time, the two sides had just finished a ‘flag war’. One side erected a giant flag pole with a giant national flag flying from it. The other side erected a taller pole with a bigger flag. The first side then erected an even bigger pole with an even bigger flag. And so on. And so on. Looking at the poles today, the North Koreans won the flag war.

Party people (a phrase which has different meanings in Manchester and North Korea) wear small flag badges with the Great Leader Kim Il-sung or, less often, the Dear Leader Kim Jong-il’s face on them. The soldier designated to tell us the ‘truth’ at Panmunjom has a badge with two heads on it – both the Great Leader and the Dear Leader. This has more prestige and is, we are told, specially awarded.

I notice that our two North Korean guides wear single-head badges, but our driver wears a double-head badge.

We overnight at a hotel in the nearby town of Kaesong. The hotel has no hot water or electricity.

North Korea launched a satellite this morning, but the country’s agriculture system is medieval. They are proud yet have to accept food aid from their arch enemy America. On a hill overlooking the town of Kaesong is a gigantic bronze-coloured statue of Kim Il-sung. It is floodlit at night. But even the hotel which aims to impress foreigners has no hot water or electricity.

The older male North Korean guide tells me it is too cold in his room to sleep.

Earlier, when it was still daylight, he took us to a roundabout at a road junction to get a better view of the town. Before we crossed the wide road, he warned us: “Take care crossing the street because of the traffic.”

There was no traffic.

Giggles were stifled in the group.

You do not laugh at or with North Korea. This is a land without a comedy club and without a sense of humour.

Humour is a dangerous thing.

But the country has something else which, I think, will eat away at it.

Children sometimes wave at our coach as it passes by. This never happened in 1986. Coaches and people who were visibly foreigners were ignored.

Children who wave at coaches containing people who smile and wave back at them will grow up into adults still willing to believe all Western foreigners are devils. But imperceptible cracks will be inbuilt in their indoctrination. It is the start of a slippery slope.

… CONTINUED HERE …

Lewis Schaffer on the death of American comic Patrice O’Neal

(This was also published by the Huffington Post and, in a shortened version, by the comedy industry website Chortle)

The American comedian Patrice O’Neal (born ‘Patrice Oneal’) died on Tuesday this week, a month after suffering a stroke at the end of October. I did not know him and neither, it seems, did former Daily Mirror editor, now TV’s Mr Showbiz, Piers Morgan.

On his CNN chat show, the lovely Piers said:

“It’s been a sad day for comedy, with the death of Patrice O’Neal… She died of a stroke today. I want to take a quick look at Patrice on Jimmy Fallon, just to remind everyone just how funny she was…”

He then ran a clip of Patrice who was, very obviously, a man.

In October, I remember hearing about Patrice’s stroke from London-based American comic Lewis Schaffer.

He actually did know Patrice O’Neal and was very, very upset indeed when he told me about what had happened. So, after watching the Piers Morgan clip on YouTube yesterday, I phoned Lewis up and asked him what Patrice was like.

This is what Lewis told me:

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Patrice O’Neal with Lewis Schaffer's son in 2001

He often stayed at my flat in London when he came over. We did group shows at the Melbourne and Edinburgh festivals and we worked together at the Boston Comedy Club in New York, where I was house MC.

When someone famous dies, everyone says they were his friend and they knew him well but I really was Patrice’s friend. I am not saying he was my friend. I would have liked if he thought of me that way. But I was his friend. I knew him pretty well. But I don’t remember anything about him; not really.

I remember him sitting by the washing machine. I remember that argument we had on the stairs with Keith Robinson in Australia and Patrice was so loud the theatre staff locked themselves in their office and were about to call the police. I remember his screeching, booming laugh when he heard that a reviewer had called me “witty”. I remember him holding my tiny baby son in his Green Mile hands and thinking of his joke: “I don’t like to hold babies. I’d be watching the football game and my team would score a touchdown and…”

You’re asking the wrong person. It’s all a blur. Here I am in the confines of my flat and no-one is saying anything nice about me because I’m not dead yet. Poor Greg Giraldo died. It makes you want to fake your own death to get to hear a nice word.

Patrice was a really good guy.

I’ll tell you what I liked about him: he admitted his insecurities – like a Jewish guy. He knew he was a fat, ugly guy; I’ve seen him naked – not a pretty sight, but his face grew on you.

When I knew him, he was not a winner yet but his appeal was growing. He remembered what it was like before girls liked him. And I think that grounded the guy. Maybe that’s what we had in common –  I started comedy late and knew life away from comedy.

And the other thing was he was not afraid of me back in New York and a lot of people were afraid of me.

Patrice was black. I am white. I grew up at a time – the 1960s and 1970s – and in a place – segregated New York – where I did not have a chance to befriend many black people. As a matter of fact, I did not know many white Christians either. Nearly everyone in my hometown of Great Neck were white Jews.

There is a lot of tension between blacks and whites in America. I used to fear black people… with reason because, for example, black kids stole my bicycle (I saw them do it) and a year later, when I was 13, black kids mugged me in Central Park. I used to think that black people were not as smart as white people because whenever I spoke with them they seemed to have a hard time putting a sentence together.

It was when I met Patrice that I understood. It was not that Patrice was smart – though he was, of course. It was that he was emotionally honest. He made me realise that a lot of black people were afraid of people like me. Or wary of me? Or leery? Is that the word? Black people were sometimes afraid of me because I represented ‘The Man’ to them. I looked like a successful guy. Maybe it was a class thing. Maybe they thought I was better educated than them. I wore a blue blazer and a white shirt. I always looked neat and moneyed even when I “didn’t have a pot to piss in”, as my father would say.

A lot of these black guys, they didn’t know white guys. They couldn’t tell that I was running scared. I made them nervous. This mutual distrust affected the way we understood each other – and the way we acted.

But Patrice was not nervous. He was not afraid of admitting he was afraid of white people. He was not afraid of admitting he was afraid of women, relationships, his health, or getting caught making love in a creaky bed. By admitting his fears he empowered himself and disarmed me. I felt comfortable around him.

What Patrice did on a personal level he did in comedy. His honesty disarmed the audience.

When we worked together in New York, he was not famous at all. He hadn’t been on TV at all.

After I left America, comedy kind of exploded for a certain type of comedian.

The comedians I had started with and worked with in New York suddenly went on TV – and he was one of them. He went on the roasts and the ‘shock jock’ radio shows. But even then he wasn’t really famous. I think it was that he was too honest. My girlfriend thought he was misogynistic and I guess he seemed that way. But I remember how gentle and loyal he was to his Liverpudlian girlfriend, Melanie. You gotta walk on tippy toes around women if you want to make it big and his feet were too big for that.

He was unique. That’s what everyone always said about him. He was unique. He’d tell these stories – almost shaggy dog stories – about things happening. They would start off with a statement of why he didn’t litter or why he didn’t make love to his wife at his ma’am’s house. Then he would extrapolate… It was almost an English style, or Richard Pryor. I can’t explain. I feel I should call him up, but he told me not to call him again: that doesn’t mean he wasn’t my friend.

The thing about us as comedians is this…

We don’t go to the same office or factory every day. We’ve got different gigs in different places. We rarely see each other; like ships that pass in the night. But we know who’s out there and what they’re doing. And, when one person dies, it’s like we’ve all… it comes close… it’s like a brother: you get used to not seeing someone but you know he’s out there, so it’s okay. But now you know his “ship” ain’t come bump into your ship… He’ll never… be around again.

To me, he died twice.

He had the stroke about a month ago and, for a comedian, that’s death. It would have been horrible if he had come back ‘slightly’.  Because he was so full-on. I loved him.

US comic Lewis Schaffer explains why there are so few US comics on UK TV

There are some very good US comedians living and working in the UK. Yesterday morning, I wrote a blog lamenting the fact that few of them appear on British TV and radio. One of the American comics I included was Lewis Schaffer, a performer with an almost admirable ability to snatch defeat from the jaws of victory.

Last night, I went to see a screening of a re-cut version of documentary film The Tunnel, about the late Malcolm Hardee’s legendary London comedy club.

Lewis Schaffer was there too. Afterwards, he told me this:

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You know why Americans who live in Britain are not on TV over here?

Because the English know that really funny Americans

(a) they would have heard of already and

(b) would live in America.

Have people heard of Jerry Seinfeld? Yes.

Have people heard of Lewis Schaffer? No.

The American comedians who are not on TV in this country… are not on TV because the TV producers and the audience look at them and think, “This guy’s a nobody. Why do we have to have him here?”

They know that the Australians who are on TV in this country are top comedians in Australia. That is why they are here in Britain.

The Australians who are successful in Australia have to come here.

The American comedians who are successful or could be successful in America don’t come here to live and work; they are in America.

The truth is, if I was a ‘somebody’ I would never have come here. I have two kids now who keep me here. But I did not have kids when I came here. I was a loser in America. I am a loser here, but I would still have been a loser if I had stayed in America.

When the English see an Australian on TV, they think, “He might be as good as us. That’s why he’s here – because he was too big for Australia and he got the hell out.”

When they see someone from New Zealand, they think the same thing.

When they see an American here, unless they’re famous already, they think “What? He couldn’t get work in America?”

And they’re right. He couldn’t.

__________

A couple of nights ago, Lewis Schaffer played his 250th Free Until Famous show at the Source Below in Soho – London’s longest-running solo comedy show.

How British TV (and radio) programmes are scheduled

I was talking to a comedian a couple of days ago who was surprised that I took so much interest in the scheduling patterns on TV and radio.

I am not quite sure why he was surprised.

Performers should take an interest too.

Very often, they suggest making one-off programmes which stand no chance of ever being commissioned simply because they are one-off programmes.

The TV and radio year is divided into quarters – the four seasons – Spring, Summer, Autumn, Winter.

That should mean 13 weeks in each Quarter, but there is usually some event – Easter, Christmas, a sporting event or whatever – which interrupts the pattern of the 13 weeks, so the Quarters are very often made up of two 6-week stretches.

Obviously, if you keep transmitting a particular type of show in a particular slot, then you stand a better chance of growing the audience in that slot. Equally, if you transmit a series of shows, you stand a better chance of growing your audience.

With a new show, particularly in TV, commissioning 13 weekly episodes is too financially risky – the audience may not like it and, if they do not, you are screwed in that slot for 13 weeks. So commissioning initial 6-week runs is safer – 3 weeks is too short to establish an audience).

A run of 6 weeks is also a manageable length for the writer(s). In the UK, series tend to be written by individuals or duos. In the US, comedy series in particular tend to have longer runs partly because they have large writing teams (and also because of the US syndication system).

So British TV, in particular, is looking for 6-episode series. If the series turns into a major ratings-winner, it may get a 13-week run. But anyone approaching a TV production or broadcast company should be thinking in terms of 6 weeks.

Because the schedule is constructed around 6-week series within 13-week Quarters, it is very very difficult indeed to schedule one-off shows or two-episode shows. With a big star or a big piece of Event programming, you might think of scheduling a three-part series over a Bank Holiday weekend and sometimes you find 3-part dramas scheduled on three consecutive days as an ‘event’. But one-offs are not welcome.

One-offs are difficult to fit into the schedule and bloody difficult to promote unless they are a major event. With an ordinary one-off show, there is no build-up and, without a lot of build-up, promotion and awareness, there will be no audience. How are the audience going to know this show will suddenly exist at 10.30pm on a Thursday for one week only? And why should any broadcaster with loads of expensive new 6-part series and 13-part series spend time and money promoting a one-off show with no potential for building its audience in future weeks?

All generalities are sometimes wrong but usually right.

The other generality is that, if you have a series of shows comprising stand-alone episodes (ie it does not matter in which order they are transmitted), you record all six then decide to transmit the best show as the first episode to enthuse the audience. The third best show is transmitted as the second episode to hold the audience you have kept from the first episode. And the second best show is transmitted as the last episode, to get people interested in watching the next series. Sometimes producers swap those second and third best options. The worst show is usually transmitted around episode 4, hidden in the middle of the series, because the audience you have built should still, with luck, watch the following week.

All generalities are sometimes wrong but usually right.

TV (and radio) scheduling is an art.

Despite the attacks on 9/11, the Yanks are still living on another planet

After yesterday, more diary extracts. Well, diary and e-mail. This time from 2001, just over a week after the Al-Qaeda 9/11 attacks on New York and Washington.

Monday 17th September 2001

I got an e-mail from someone I know, a Londoner with American parents:

Thankfully all my friends and family are accounted for but it took until late on Friday/ early hours of Saturday morning to get the OK from everyone I know and care about in New York and Washington. 

My Aunt is a medic and has been working flat-out to cope with the casualties and fatalities that arrive at the medical centres/ hospitals around New York. She will need post traumatic stress counselling, as will all the rescue workers and medical staff. 

I did hope that the events of last week would prompt my sisters who haven’t been speaking to one another for the past 15 months to make their peace – they haven’t. 

I replied:

It’s difficult to comprehend what effect this must have on Americans. They have never had foreigners attack them on their own soil nor been in many wars whereas, in Britain, we have been at constant war somewhere since at least 1939 and any of us could have had our legs blown off in the last 30 years by an IRA wastebin bomb while doing our shopping.

I think they’re still a bit on another planet. When a few hundred US body bags have come back from Afghanistan, they’re liable to turn insular again. It’s a sad reflection on my superficiality but the thought did flit through my mind “Well, this may help the Irish problem in the medium term because the Americans may be less prone to see the IRA as jolly little green freedom fighters.”

Tuesday 18th September 2001

A British Moslem friend of mine, who has worked in the US, spoke to her former boss in Washington this afternoon. She said he sounded angry and told her there was real anger in the US following the attacks on New York and Washington last week. Another friend of hers – a Moslem Brit in the US – said it was dangerous for her to return to the US because Moslems were being attacked. Such is American ignorance that a Sikh was killed in a racial attack.

I watched the David Letterman TV show, transmitted from New York. He gave a ten-minute opening monologue about the World Trade Center bombing, then interviewed US TV newsman Dan Rather who was there as The Man Who Knows The Real Situation.

The perspective given was that the Baddies are mad, insane and neither cause-and-effect nor logic enter into it. There is no point trying to understand their motive because there is none. They are just Pure Evil with no cause except that the Baddies see the Americans have more money and a better life than they do, so the only trigger is Envy.

Letterman asked Rather – apparently seriously – why something could not have been done in retribution last Saturday (the New York attack was on Tuesday).

When the Independent newspaper wrote a column saying to the Americans “Welcome to the real world” they got it wrong.

The Yanks are still living on another planet.

A classic comedy venue + extraordinary news of an unknown comedy legend

It is very sad that, the last couple of years, Brian Damage and Krysstal have not been running their Pear Shaped venue at the Edinburgh Fringe. It was always a heady mix of the talented and the eccentric with their own late-night Pear Shaped shows reserved for occasionally gobsmackingly odd acts.

Last night, Brian Damage told me they had stopped “because it had become a job. It wasn’t fun any more.”

They – or, rather, Pear Shaped’s glamorous éminence auburn Vicky de Lacey – had an extraordinary track record of talent spotting good acts for the Pear Shaped venue in Edinburgh, climaxing with Wil Hodgson winning the Perrier Best Newcomer award in 2004 and Laura Solon winning the main Perrier comedy award in 2005.

I was at the weekly Pear Shaped comedy club in London’s Fitzrovia last night – the grand daddy of Open Mic nights – and it was, as ever, eclectic.

Co-host Anthony Miller managed to define a typical Pear Shaped evening by explaining: “It’s like the Duke of Edinburgh’s Award scheme – sometimes people die, but that’s not the intention.”

Anthony Miller can do no wrong in my eyes because of his enthusiasm for the brilliant US OCD detective series Monk which I make no apologies for having blogged in January was “the most consistently funny situation comedy currently screening on British television”. Last night, Anthony was beaming with happiness when he asked me if I had seen the final episode of Monk which, indeed, I had: a triumph of quirky humour. Which is something that can also be said of Pear Shaped though without the hand wipes and obsessive cleanliness.

The attraction of Brian Damage & Krysstal’s weekly club is that there is no visible quality control. It is a true open spot evening. Two or three may die; others may be brilliant.

Intermingled in last night’s line-up of thirteen (unlucky for some, lucky for others) were a couple of extremely dodgy acts plus a couple of surprisingly strong acts which had only been performing for two months and for one year. But also on the bill were the strongly up-and-coming Sanderson Jones and – amazing – the overwhelmingly original and always brightly-attired Robert White, winner of the 2010 Malcolm Hardee Award for comic originality. He was trying out new material and there is almost nowhere better to do that than Pear Shaped with its heady mix of ‘real’ audience and comedians watching other comedians.

The most extraordinary thing last night, though, was kept until the end, when Anthony Miller and plucky Al Mandolino told me that eternal open spot legend and anti-comic Jimbo has a new character called Tony Bournemouth and is going to unleash it/himself on an unsuspecting and entirely innocent Edinburgh Fringe audience in a 30-minute show this August.

Al and Anthony told me they thought Jimbo’s Tony Bournemouth incarnation might turn out to be the dark horse at this year’s Fringe.

Mmmmmm…….

Jimbo has been on the London comedy circuit for around twenty years and remains triumphantly unknown except by aficionados of seriously bizarre comedy.

But he is appearing as Tony Bournemouth at Pear Shaped in Fitzrovia either in a fortnight or possibly next week. Pear Shaped is ever unpredictable.

And THIS I have to see.

It could be another triumph for Brian Damage and Krysstal, eternal purveyors of unexpected and occasionally under-appreciated acts to the comedy world.

Cut out the music industry middle-men, think small and make big money

I got a Facebook message from Ben Peel in Bradford, saying:

“I would love you to go check out my home-made video from my debut single here. It will sure make you smile. I have currently just released my debut album – which can be previewed here. ”

I don’t know Ben Peel nor his band The Wool City Folk Club, but his video and songs are interesting.

Quite soon some unknown person is going to achieve worldwide fame and become a millionaire through YouTube clips and subsequent audio or video downloads. Maybe the Arctic Monkeys have already done it, but only on a limited scale.

Perhaps in a couple of years time, Ben Peel will be a multi-millionaire.

Or maybe not.

The world is changing fast but no-one knows what the fuck is going on or what they’re supposed to be doing.

Shortly before Apple announced their new iCloud service, I wrote a blog in which I mentioned the on-going death of the traditional record industry – by which I meant vinyl, tapes, CDs and DVDs sold in shops.

The blog resulted in some interesting feedback.

Hyphenate creative Bob Slayer (he’s a comedian-promoter-rock group manager) reacted:

“It is at worst a myth and at best very misleading to say that the record industry is dying – there is more demand for music then ever. What has happened over the last ten years is that the music industry has completely reinvented itself. The X-Factor has had an effect and a smaller number of pop artists are selling a high number of records. They still operate in a similar way to the traditional industry.

“But everywhere else has radically changed so that the artist (and their management) can play a much more hands-on role in controlling their own careers.”

Mr Methane, the world’s only professional farter, who knows a thing or two about self-promotion and has made his own music CDs produced by former Jethro Tull drummer Barrie Barlow, tells me:

“Large record labels no longer have the money to keep well-known acts on retainers or publishing contracts like they used to and have pressed the ejector seat. New and well-known acts are not as a rule getting huge piles of money thrown at them to go away and make an album. The Stone Roses’ great rock ’n’ roll heist, where they made one decent album then got a shed load of money advanced to make another and did sweet FA, just would not happen in today’s economic climate – or at least it would be highly unlikely.”

We have entered the entrance hall of an iTunes world of downloads with megastars and small self-producing, self-promoting unknowns where good middle-ranking performers and groups will potentially be squeezed out. It is much like comedy at the Edinburgh Fringe, where the big TV names and unknowns on the Free Fringe and Free Festival pull in crowds, but it is increasingly tough for very good, experienced middle-rankers with no TV exposure.

Ben Peel, just starting out in the music business, says:

“The digital realm does not have time for people who are solely musicians. You have to evolve into some type of super musician / marketing guru to be able make an impact amongst people. I have to be 50% musician, 50% marketing and branding. The digital realm is creating a new generation of musician: one-man machines cutting out the middle-men. The downside is that the middle-men had collateral – and contacts.”

Self-promotion ability is vital, though Ben thinks e-mails are outdated in publicity terms.

“I do a gig… and send an email out… I get ten people there…. I do a gig and throw out a 30 second YouTube short… one a week on the run-up to a gig…. I get two hundred people to attend and the exposure of the viral promoting and people re posting is priceless…. You cannot buy ‘word of mouth’ promoting …. you can only inspire it through something quirky/ original/ funny/ catchy etc.”

Bob Slayer manages not only the wonderful Japanese rock group Electric Eel Shock but also internet phenomenon Devvo and tells me:

“At his height, Devvo was achieving over a million hits on every YouTube clip we put online. We had no control over who was viewing them but, as they were mostly passed around between friends, he found his natural audience. Devvo is not really understood outside the UK, so that massive following came largely from the UK and predominantly in the north. It meant that, he could easily sell-out medium sized venues anywhere north of Birmingham and strangely also in Wales but, for example, we struggled to sell tickets in Brighton.”

Financially-shrewd Mr Methane has so far failed to dramatically ‘monetise’ the more than ten million worldwide hits on just one of several YouTube clips of his Britain’s Got Talent TV appearance. but he sold shedloads of CDs and DVDs via his website after appearances on shock jock Howard Stern’s American radio and TV shows because small local radio stations across the US then started playing his tracks. They were small local stations, but there were a lot of them.

Only Bo Burnham, winner of the 2010 Malcolm Hardee ‘Act Most Likely to Make a Million Quid’ Award, who straddles music and comedy like Mr Methane and started as an online phenomenon, seems to have got close to turning YouTube clips into more mainstream success and music downloads.

The fact Mr Methane made a lot of money online, sitting at home in Britain, after very specifically local US radio exposure is interesting, though.

At the bottom of his e-mails, Ben Peel has a signature:

“Dwarves are like tents… a lot easier to get out of the bag than they are to put back in.”

Yes indeed. And that is very true with new technology. But it made me remember something else.

Years ago, I attended a Writers’ Guild of Great Britain meeting where the speaker’s message was “The way to make money is not to think big but to think small.”

He suggested that one way to make money was to create a weekly five or ten minute audio insert which could be run within local US radio shows. If anyone could come up with an idea, made in Britain, which would be of interest to Americans on a weekly basis, you could sell it to local US stations at a very low price.

If you tried to sell the mighty PBS network a weekly half hour show for £2,000 it was unlikely they would buy it.

But any small local US radio station could afford to pay £5 for a weekly five or ten minute insert. If you could sell that same insert to 499 other small local US radio stations (not competing against each other because they are small purely local stations), you would be grossing £2,500 per week for creating a five or ten minute item. And you could distribute it down a telephone line.

If you could persuade the stations to buy it for £10 – around $15 – still throwaway money – then, of course, you would be making £5,000 per week.

The trick was to price low and sell in volume.

That was before iTunes, which became successful by that very same model of micro-pricing. It was worth buying a single music track if it only cost 79c in the US or 79p in the UK. If iTunes had priced a single music track at £1.60 in the UK, they would almost certainly have sold less than half as many units, so would have grossed less money.

Think small. Think cheap. Think volume.

Modern technology allows ordinary bands to record, mix, cut and put their own tracks on iTunes alongside music industry giants. It also allows people in New Zealand to listen to and watch Ben Pool on YouTube just as easily as people in Bradford can see him play a live gig.

Think small. Think cheap. Think volume. Think worldwide.

Just as some comedians are looking into e-publishing, bypassing traditional publishers, Ben Pool in Bradford and local bands in South East London can now expand beyond selling their own CDs after gigs and could reach a worldwide paying audience of millions with no music industry middle-men.

Last year, I wrote a blog titled Britain’s Got Talent in Pubs about an astonishing regular pub gig I saw in South East London featuring Bobby Valentino and Paul Astles.

A week ago, I saw Paul Astles perform again, this time with his seven-man band Shedload of Love in their monthly gig at The Duke pub on Creek Road, Deptford, not far from Malcolm Hardee’s old Up The Creek comedy club. They also play the Wickham Arms in Brockley every month. They are astonishingly good. Formed in 2004, they recently recorded an album at Jools Holland’s studio in Greenwich.

Both the Paul Astles bands are world-class, playing mostly locally but, if promoted on the internet, they could garner a worldwide following with no music industry middle-men.

There are, of course, as with anything involving creativity and cyberspace, those big words IF and COULD.

What is success? Global fame, Simon Cowell or a big fish in a small pond?

Yesterday, 20-year-old American comedian Bo Burnham started a two-week tour of England. He has his first album out, has been commissioned to write a movie, MTV recently ordered a television pilot from him and, in January this year, he finished Number One in Comedy Central’s Stand-up Showdown in the US – a public vote on the twenty greatest Comedy Central performances. But he is still mostly unknown in the UK, despite being that new phenomenon ‘an internet sensation’ and winning the much-publicised Malcolm Hardee ‘Act Most Likely to Make a Million Quid’ Award at the 2010 Edinburgh Fringe.

I wrote a blog a while ago about Ken Dodd which started off “Morecambe and Wise were not famous” and mentioned, as an aside, that “fame is relative and mostly regional”

One response was from Mr Methane, the world’s only professionally performing farter. He has performed all over the place and, at various times, been fairly famous in Sweden and in Japan because of his television appearances there. Far more famous than in Britain, where farting in peaktime is still frowned on.

He responded to my blog by saying: “I always find it interesting when I go abroad and do a TV show with a person who is that country’s Steve Wright or Jonathan Woss – a big fish in a small pond but none-the-less raking it in. My problem has always been that awareness of Mr Methane is spread globally rather than condensed in a certain geographical area which makes it harder to get bums on seats and make some serious money.”

The Scots comedienne Janey Godley has had a Top Ten bestselling hardback and paperback book in the UK and regularly (I have seen the figures) gets over 500,000 worldwide hits per week on her widely-posted blog. But if she were to play a theatre in, say, Cleethorpes in England or Peoria in the US, she would not necessarily sell out the venue’s tickets in the first half hour they went on sale, because she has had relatively little English TV exposure and her fame and fanbase is spread worldwide not concentrated locally.

To be a big ‘live’ star in a country, you still have to be on that country’s television screens fairly regularly. A massive internet following may not be enough for you to make shedloads of money on tour. I would lay bets that some amiable but relatively talentless British stand-up comedian who appears on a BBC3 panel show will make better box office money on a UK tour than the equally amiable and immeasurably more talented Bo Burnham who is, indeed, that legendary beast ‘an internet sensation’.

In 2009, Mr Methane was on Britain’s Got Talent. Several clips of that appearance have been posted on YouTube and, at the time of writing, one of those clips

has had over ten million hits. But those ten million plus people are spread across the globe, so how does Mr Methane, in that awful American phrase, ‘monetise’ the awareness of his existence? He can market products online, which I know he does very successfully but, if he were playing a live venue in Peoria, would he fill the auditorium?

The result is that, as Mr Methane observes, you can often make more money and be more ‘successful’ by being a big fish in a small pond rather than being an internationally recognised performer. Financially, it is usually still better to have 10 million fans in the UK than 30 million fans worldwide.

iTunes, YouTube and other online phenomena are still in their infancy and may well change all that and Bo Burnham may be one of the trailblazers.

The now-dying record business created international stars selling millions of discs worldwide who could tour on the back of that success. But without television exposure and with only a few exceptions, that has not yet happened for comedy acts. You still need local TV exposure.

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.)

The man who kept accused war criminal Ratko Mladic’s hat in his living room

I posted this blog a few months ago but, with the arrest yesterday of former Serbian general Ratko Mladic, I thought part of it might be of interest again. It is about one of the most interesting people I never met.

* * *

Bill Foxton is dead now and we’re back to that famous Rutger Hauer death speech in Bladerunner.

He’d seen things you people wouldn’t believe and, when he died, almost all those moments were lost in time, like tears in rain. His death went mostly un-noticed, but he intersected with History.

In the mid-1990s, I (almost) wrote the autobiography of a Soviet sleeper agent who, let’s say, was called Ozymandias. I have blogged about him before. He believed that the British and the Spanish were the most violent people in Europe. He told me about a British friend called Bill Foxton who, he said, had gone to public school in Somerset, then joined the French Foreign Legion for five years and fought in the Algerian War of 1954-62.

“At that time, a lot of guys in the Legion were German,” Ozymandias told me, “Many of them former S.S. men. Bill told me that during the French Algerian War in the early 1960s, when they entered a village to ‘clear it up’, the Spaniards were the only ones who would shoot babies in their cradles. Even the ex-S.S. men didn’t do that.”

After his experiences in the Algerian War, Bill Foxton returned to England in the Swinging Sixties with lots of money in his pockets and met lots of girls who fancied him and, according to my chum Ozymandias, joined a privately-run special services group. They used to train Idi Amin’s bodyguards in Uganda and there was an incident in Qatar when the Emir’s brother was shot.

“Finally,” Ozymandias told me, “in 1969, Bill was employed as one of a group who were paid to go and kill Colonel Gaddafi in Libya. But they were stopped at London Airport by the British security services and the private company they worked for was closed down. Because of his experience, Bill was persuaded by the British authorities to join the SAS and was immediately sent to Ireland 1969-1973.

In a previous blog, I mentioned an extraordinary true story in which an Irish Republican was kidnapped in Belfast, drugged and put on a plane from Shannon to New York. Bill Foxton was involved in that. He was also a member of the British bobsleigh team in the 1972 European Championships. He was an interesting man.

In 1973, he was sent to fight in the secret war in Oman which, at the time, was called ‘the Dhofar insurgency’ and was said to be restricted to southern Oman; it was claimed the Omani Army were fighting some Yemeni insurgents. In fact, the insurgents were backed on the ground by South Yemeni regular troops supported by East German advisors and troops, acting on behalf of the Soviet Union. Oman was backed on the ground by British SAS troops (plus, in the early stages, the Royal Navy) and by units of the Shah of Iran’s army and the Jordanian Army. The commander of the British forces was an admiral and his problem was to cut the rebels’ supply routes from South Yemen into Oman. The British strategy was to construct three fences along the border, manned by more than 5,000 Iranian troops. Behind these three fences, inside Oman, the war was fought by the British SAS and Oman’s mainly Baluchi army while Jordanian desert troops defended the northern part of the desert in Dhofar province.

In 1975, Bill was inspecting a sector of the border fence when East German troops fired an RPG – a rocket-propelled grenade – at him. He was alone, but managed to jump back onto his jeep and drive off, holding his blasted and bloodied arm onto his torso with a torn strip of his uniform. He held the strip of fabric with his teeth and drove with his other hand, while the enemy troops continued firing grenades at him. He drove about 6km to a British base where a Pakistani medic came out to see him.

“I think I’ve lost my arm,” Bill said through his clenched teeth.

“Well, let’s have a look then,” the Pakistani medic replied sympathetically. Bill let go of the strip of fabric he was holding with his teeth and, when his arm fell out, the medic fainted on the spot. Alan fainted too. They flew him to the British base at Akrotiri on Cyprus, where his arm was amputated and, by the time my chum Ozymandias met him, he had an artificial one.

“I am a big man,” Ozymandias told me, “but Bill has a neck twice the girth of mine. He may only have one arm but, when we met in 1982, I could see immediately he was extremely tough. Red hair, red beard, strong, broad neck. We immediately got on.”

According to Ozymandias, Bill Foxton had won an award from the SAS:

“At that time, Bill had already lost his left arm but was still a serving member of the SAS; he was training in the deserts of Oman with younger SAS troopers closing in on his position from all sides and he buried himself in the sand. He dug a hole with his one good arm and simply buried himself deep underground. The SAS troopers passed over him without realising until he told them and the Regiment was so impressed they gave him their Award.”

After the secret war ended, Bill decided to stay in Oman and started running the Sultan’s Armed Forces (SAF) Beach Club: apparently a splendid, well-organised place with a restaurant full of ex-patriot British soldiers from a wide variety of armies. He had his SAS Award plaque hanging on the wall of his office.

I heard all these stories about Bill Foxton from my chum Ozymandias and then, one day in the 1990s, I accidentally heard him being inteviewed – Bill Foxton – he was by then spokesman for the Organization for Security and Co-operation in Europe and apparently also head of the European Commission Monitoring Mission during the Yugoslav wars.

According to Ozymandias, Bill kept a hat in his living room in Britain. The hat belonged to Serbian General Ratko Mladic. During the Yugoslav wars, Bosnian forces ambushed Mladic’s car in an attempt to assassinate him; he was not in the car but his hat was. So the Bosnians killed his driver and gave the hat to Bill, whom they admired. That was the explanation Bill Foxton gave.

In 1999 he was awarded the OBE for his work in Kosovo.

By 2008, he was working in Afghanistan, running humanitarian projects.

The next year, in February 2009, he shot himself in the head in a Southampton park with a 9mm Browning pistol after he lost his life savings – reportedly over £100,000 –  in the $64 billion Bernie Madoff fraud.

His death was not news except in the local Southern Daily Echo in Southampton. The BBC mentioned it as a ‘human interest’ aside to the Bernie Madoff ponzi scheme fraud story, like a teardrop in rain. His death went mostly un-noticed, but he intersected with History.

Oh – that British plot to assassinate Colonel Gaddafi in 1969, the year he came to power… it was allegedly stopped because the US Government felt that Gaddafi was sufficiently anti-Marxist to be worth ‘protecting’.