A PHOTO

‘Jealousy’ by Liz Phair
Great example of Liz Phair’s under-appreciated and considerable skills as a rhythm guitarist. I mean, wow! I could never play this in a thousand years, but I’m gonna try. That whole 1995 show is superb, I revisit it a lot. #lizphair

A VIDEO

Always excited to hear new Chris Morris GLR prank calls turning up, so wanted to share this with you. Also includes some Feedback Reports, and truncated Michael Alexander St John “Ten Ways To Change The World” segments. Enjoy.

#ChrisMorris

A VIDEO

Always excited to hear new Chris Morris GLR prank calls turning up, so wanted to share this with you. Also includes some Feedback Reports, and truncated Michael Alexander St John “Ten Ways To Change The World” segments. Enjoy.

A VIDEO

Here’s a compilation of Chris Morris “Children In Need” bits, taken from dmillburn’s 1991 GLR tape, and Zeb’s 1989 Radio Bristol one.  While at Radio Cambridgeshire, in 1986, Chris Morris himself took part in the fundraising - lovely find here, by weirdbeard.

Sourced by weirdbeard

A TEXT POST

2002 interview with Daniel Kitson

Been meaning to type this up for an age, and thought it was now particularly relevant, given Kitson is wrestling with the increased listenership to his new Resonance FM run that Twitter is securing him.

The Observer Magazine, 27th October 2002 - Interview by Stephanie Merritt

The name Daniel Kitson may not strike an immediate note of recognition with the man in the street, but this is entirely deliberate on Kitson’s part.  If he were interested in fame, wealth and his own television show, the 25-year-old winner of this year’s Perrier Award could have become one of the biggest names in British comedy over the past 12 months.  Since his debut Edinburgh show Love, Innocence and the Word Cock was nominated for the Perrier last year, he has been deluged with offers from television people who want to turn him into the next big thing and, resisted them all, save a cameo role in Peter Kay’s Phoenix Nights.  At the moment he’s engaged in an argument with his agent because he wants to preface the boast, ‘Winner of the 2002 Perrier Award’ with the words ‘reluctant and ungracious’ on the posters for his London run.  ‘It’s a joke against myself more than anything,’ he says, in the fairly weary tone that always creeps in when he has to explain himself to journalists.  ‘I’m aware that it looks as if I’ve just been obstreperous and self-important about the Perrier, but really I haven’t.  If I’d played up to the Perrier thing, I’d have been undermining what I do in my show.  Because who i am on stage, and the nature of what I think and feel, all come from not being part of the mainstream, not fitting in.’

His is the perspective of the boy always picked last for team games at school, the kid with the stammer and thick glasses who was always on the fringe by default, and in adult life remains that way by choice.  Much of last year’s show was based on anecdotes relating to his appearance, but he is tiring of critics who dwell entirely on the way he looks and his speech impediment, and wishes that these elements could now be accepted as part of him and not the focus of his material.  Love, Innocence and the Word Cock was largely about growing up and the end of childhood dreams; in this year’s show, he is markedly less vulnerable and more experienced in the ways of the world, but the childlike quality that has earned him comparisons with Eric Morecambe is still abundantly visible.  On stage, Kitson shines; his body language may be gauche, but he is so clearly a natural performer that audiences give him their trust and affection without hesitation, which explains why he sometimes gets away with murder in terms of content.  Kitson swears profusely, on stage and off, in a sweetly inoffensive manner suggestive of a small child who doesn’t know quite how bad the words are; he has a rare gift of making all profanities incredibly funny.

He was born in Denby Dale, Yorkshire, the son of a teacher and a lecturer, and decided that he wanted to be a stand-up at the age of 13.  At 16, he began performing and was the youngest runner-up of the Daily Telegraph’s Open Mic Award. After a drama degree at Roehampton Institute, he began to get regular slots at clubs, was signed by an agent and was being talked about in hushed tones among critics and fans of live comedy a year before the extraordinary success of his first Edinburgh show.  His early shows were based entirely on banter with the audience, and the transition to more structured, story-based shows came with Love, Innocence, though it’s a foolish heckler who would pit himself against Kitson’s whiplash responses.

'I really like the idea of people having discovered me for themselves,' he explains.  'We've all had the experience of having a song that we love and it's special and we think it's our song, and we found it, and then it becomes really popular and everyone knows it and the song's spoiled for us.  The wider the audience, the less magical it becomes.'

This resistance to mainstream success is not overtly political.  Kitson is reluctant to outline his beliefs, though he becomes vocal on the subject of the corruption he has encountered in so-called charity gigs, and has some wonderful material in his show about how he was duped into taking part in a commercially sponsored tour.  But the one word that crops up more than any other when he talks about his own work is ‘humanity’.  His aim for this year’s show was to make it ‘as deeply moving as the “You And Me Song” by The Wannadies, and as innately funny as a pigeon walking.’  He is interested in developing his act, incorporating multi-media, perhaps making his own film, but he wants the material to retain the warmth and human connection that won so much praise.  ‘The one positive thing about winning the Perrier is that it’s over with now.  So I’m really excited about next year at Edinburgh because I can just concentrate on doing good work and enjoying the show for the audience, which is the whole point really.’

A TEXT POST

Chris Morris and Peter Cook

Don’t miss Peter Cook’s triumphant appearance on Clive Anderson Talks Back, tonight on Channel 4 - this kicks off at 12:10, with a special introduction by Clive Anderson.

You can read Chris Morris’ thoughts on the appearance, as well as his own collaboration with Peter Cook, on The Establishment.  This was originally published in the now defunct Peter Cook ‘fagazine’ “Publish & Bedazzled.”  There was also a self-portrait included, which hasn’t made it onto the website:

Thank you to @SquidyUK for providing this explanation of the picture, printed in a future issue.

Squidy also sent this, for good measure:

A PHOTO

Another partial transcript - help me out by seeing if there’s more of the article visible on the DVD, because I’m a bit busy, cheers.

Drugged bankers pulled my wife’s head off and puked down the neck-hole

by Lucy Mass

A GANG of drug crazed yuppies murdered an 88 year old pensioner yesterday as her husband watched. 

Frail Ethel Meakle was attacked as she walked with her husband Reg along Worthing’s sea-front where the couple had been celebrating their 70th wedding anniversary.

They were outside the White Lace Team Rooms when they were confronted by 15 young men.

…dealers, from… throughout the afternoon - an African root that is chewed to induce a “high”.

According to eye-witnesses the bankers had been fighting amongs themselves and harrassing passers-by when one tripped over Mrs Meakle’s walking frame.  88 year old Reg Meakle’s apologies were ignored and a fight broke out.

Crispin Thornthwaite, 24, who later claimed he had been acting in self defence, grabbed Mrs Meakle around the throat and was attempting to… the ground… tore through her flesh as they fell to the ground in a heap.

As the full extent of Ethel Meakle’s injuries became obvious, giggles broke out amongst the mob of bankers.  Thornthwaite, now laughing hysterically, turned over to face Mrs Meakle and vomited into her wound.

15 men are now helping Sussex police with their inquiries.

A public relations officer for the bank said that Mr Thornthwaite’s annual bonus of the 15 billion had been frozen while the investigation into the horror… tragic death of… continues.

Note the reference to an “African root that is chewed to induce a high” - people often talk about the Drugs episode containing a fake drug called “Clarky-Cat”, but this strengthens my belief that it’s Clarky-Khat, and this article - only readable while pausing the DVD - could be a specific reference to the fake drug Morris requests from a drug dealer during the show.

That’s it for now, if you liked those please RT and reblog, and I’ll do some more.

A PHOTO

One of those things you couldn’t really read on a paused VHS tape, but which finally became very clear when the Brass Eye DVD was released.  Zoom in - you might need to save these images and open them locally to do so properly, or here’s a transcript I’ve just typed up:

Liam’s new staircase ‘made out of gear’

Caroline Gloves
Media Correspondent

Oasis singer Liam Gallagher was once again at the center of controversy yesterday, after it was revealed that he has paid over £1.5 million to have his new St John’s Wood home interior designed using a selection of psycoactive drugs.

Gallagher who has become the subject of increasingly unwanted media attention over the last month, characteristically played down the situation and made a brief statement to photographers gathered outside his house “Bollocks, yous lot can just fook off.  So what if me new staircase is made of gear.  It’s my ‘ouse not yers, so I choose me own stairs…allright? Now if you don’t fook off then I’ll twat the lorra yer.”

Gallagher’s Interior designer, Edgar Paris would not comment on the choice of materials but issued a statement saying “Liam has a really strong idea about how he wants the house to look feel and smell.  It’s tremendous to be working with someone with such absolute vision.”  However the police and parents groups across the country were horrified and are considering legal action.

Keith Helliwell the chairman of some police’s drug action committee or something said “Liam Gallagher seems to be in contempt of the law of the land.  He is a role model to thousands of youngsters yet the example he is setting will only lead them to attempt to make household objects out of illegal drugs.  It is an absolute disgrace.

Oasis’s record company, Creation Records, refused to comment.

Magda Ericson, professor of addictive pharmacology at the University of Cardiff expressed doubts about the suitability of…

(Picture)

Oasis’s Liam Gallagher commisioned set of home furnishings fashioned from cannabis & cocaine”

I don’t have the DVD to hand to see if the last part of the article is visible. If you can screencap it, let me know and I’ll finish the transcript.  I’ve also tried to keep in the original typos - Morris is a fuck-awful speller.

A PHOTO

Zoom in, it’s readable.  Or here’s a text transcript.

A PHOTO

Peter Baynham Guardian Guide interview addendum:

Found the cover for my last post.  Rare and brilliant picture.