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Fredrik Backman: 'My brain and I, we are not friends', Simon & Schuster 100 years - 2024

June 18, 2025

8 April 2024, Town Hall, New York City, USA

Good evening. My name is Fredrik Backman.

I’m here tonight because my agent said that this would be good for my career. She said I need to learn how to speak in front of people.

‘It’ll be fun,’ she said.

So I told her that I write books. I spend eight hours every day locked inside a room with people I have made up. If I was comfortable talking to real people, I would have a real job.

But my agent said, ‘Just go up there and talk about the life of a writer.’

And I said, all right. Being a writer is the best way I know how to get paid for being insane.

Don’t applaud. I only have four minutes.

My brain and I, we are not friends. My brain and I, we are classmates doing a group assignment called Life, and it’s not going great.

So my agent, upon hearing this said, ‘Maybe you can talk about how you suffer from creative anxiety, Fredrick.’

And I said, I don’t suffer from creative anxiety.

And my agent said,’ Well, everyone around you suffers.’

So I explained that I don’t have creative anxiety. I just have normal death anxiety. And sometimes I have panic anxiety if I’m in a hurry and need to have a lot of anxiety all at once. But I don’t have creative anxiety. I never get writer’s block. And the secret is easy; it’s procrastination.

I don’t want to brag, but I’m very good at procrastination. I’m going to have writer’s block, I just haven’t gotten around to it yet. I am am so good at procrastination that the only reason that I am here tonight is because I’m supposed to be finishing a book right now.

But my anxiety is not creative. My anxiety is Scandinavian because I am from Sweden. In America, Sweden is often confused with Switzerland, but we are very different. In Switzerland, they have chocolate and watches. In Sweden, we have Ikea and depression.

Swedish depression is just like American depression, but it’s cheaper, and you have to assemble it yourself. Some parts may be missing. So if someone in here is depressed tonight and you don’t know why, then you might be Scandinavian.

Of course, some of you will think that because I am Scandinavian I must write crime novels, but I find murder to be too much work. So instead, I write novels about characters who could murder someone, but they haven’t gotten around to it yet.

I wrote this speech on the airplane from Sweden to America, which was great because of the time difference. Americans call that jet lag. I call it a procrastinator’s dream because Sweden is six hours ahead of New York.

So I left home Sunday evening, and when I arrived here, it was still Sunday evening. The customs official asked me where I was traveling from, and I answered, ‘The future.’

So in conclusion, I am here tonight, with all of my anxiety, because I know that in this room there might be someone who is dreaming about writing a book, dreaming of becoming an author. So I’m here to tell you that I am obviously an idiot. I have no idea what I’m doing, but I have become an author anyway, so you can too.

And I hope that one day I will be able to tell my agent that the reason that my next book is not finished yet is because I was busy reading yours.

Thank you very much.

Source: https://www.mondaymorningmemo.com/fredrick...

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In BOOKS 2 Tags FREDRIK BACKMAN, FUNNY, AUTHOR, COMEDY, WRITING, ON WRITING, TRANSCRIPT, SIMON & SCHUSTER, SWEDEN, AUTHOR EVENT, PROCRASTINATION
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Siobhán McSweeney: 'It's time they started to wise up!' BAFTA acceptance - 2023

June 14, 2023

14 May 2023, London, United Kingdom

Oh my God. Sorry. Hello. Right. So I've been warned to not do a political statement or to be really, really boring or sad and stuff, so I'm going to start with a funny bit.

[reads] As my mother lay dying in the Bon Secours Hospital in Cork, one of the very last things she said to me was, 'would I not consider retraining as a teacher'. If she could see me now, getting a BAFTA for playing a teacher ... Joke's on you, Mam!

Sugar, sugar. No, no, I'll never be up here again. Dammit. Lisa McGee, thank you. Who knew that getting drunk and making each other laugh for decades would pay off? Thank you for giving me Sister Michael and not listening to me when I said I could play all the girls' parts. Thank you, BAFTA. I wanted this so much. Thank you for giving it to me, especially considering the other nominations. And Channel 4, you have my devotion. Don't fire me. Hat Trick. You're very clever for picking up this script. Well done. Liz Liu and Caroline Ledger. Brian Faulkner, you're fantastic producers. Thank you for extraordinary crew. I love you. Thank you for reminding me, Mike Lennox, you're a brilliant director, my darling girls, Louisa, Nicola, the whole lot of them. Peter, I love you all. To Kevin Brady, my agent and my pal for seeing everything all the day,

Ugh. [exhausted at the pace]

Toi AHA talent, to my chosen family and friends. I'm everything because of you. To the people of Cork who supported me, despite the fact I'm not Cillian Murphy. I know that has been very difficult for you. To my brother, to my mother and father who aren't here, but I'm going to be quick because it has to be to the people of Derry. Thank you for taking me into your hearts and your living rooms. I am daily impressed with how he encompassed the spirit of compromise and resilience, despite the indignities, ignorance and stupidity of your so-called leaders in Dublin, Stormont, and Westminster.

In the words, words of my beloved Sister Michael. It's time they started to wise up. Thank you so much.


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In FILM AND TV 3 Tags SIOBHAN MCSWEENEY, DERRY GIRLS, LISA MCGEE, BAFTA, FEMALE PERFORMANCE IN A COMEDY PROGRAMME, COMEDY, FUNNY, CHANNEL 4, CENSORED, BBC, CILLIAN, MURPHY, CORK, DERRY, IRELAND, TRANSCRIPT
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Ricky Gervais: 'Accept your little award, thank your agent, and your God and f*ck off,' Golden Globes opening monologue - 2020

February 10, 2020

6 January 2020, Los Angeles, USA

Hello and welcome to the 77th annual Golden Globe Awards, live from the Beverly Hilton Hotel here in Los Angeles. I'm Ricky Gervais, thank you.

You'll be pleased to know this is the last time I'm hosting these awards, so I don't care anymore. I'm joking. I never did. I'm joking, I never did. NBC clearly don't care either — fifth time. I mean, Kevin Hart was fired from the Oscars for some offensive tweets — hello?

Lucky for me, the Hollywood Foreign Press can barely speak English and they've no idea what Twitter is, so I got offered this gig by fax. Let's go out with a bang, let's have a laugh at your expense. Remember, they're just jokes. We're all gonna die soon and there's no sequel, so remember that.

But you all look lovely all dolled up. You came here in your limos. I came here in a limo tonight and the license plate was made by Felicity Huffman. No, shush. It's her daughter I feel sorry for. OK? That must be the most embarrassing thing that's ever happened to her. And her dad was in Wild Hogs.

Lots of big celebrities here tonight. Legends. Icons. This table alone — Al Pacino, Robert DeNiro … Baby Yoda. Oh, that's Joe Pesci, sorry. I love you man. Don't have me whacked. But tonight isn't just about the people in front of the camera. In this room are some of the most important TV and film executives in the world. People from every background. They all have one thing in common: They're all terrified of Ronan Farrow. He's coming for ya. Talking of all you perverts, it was a big year for pedophile movies. Surviving R. Kelly, Leaving Neverland, Two Popes. Shut up. Shut up. I don't care. I don't care.

Many talented people of color were snubbed in major categories. Unfortunately, there's nothing we can do about that. Hollywood Foreign Press are all very racist. Fifth time. So. We were going to do an In Memoriam this year, but when I saw the list of people who died, it wasn't diverse enough. No, it was mostly white people and I thought, nah, not on my watch. Maybe next year. Let's see what happens.

No one cares about movies anymore. No one goes to cinema, no one really watches network TV. Everyone is watching Netflix. This show should just be me coming out, going, "Well done Netflix. You win everything. Good night." But no, we got to drag it out for three hours. You could binge-watch the entire first season of Afterlife instead of watching this show. That's a show about a man who wants to kill himself 'cause his wife dies of cancer and it's still more fun than this. Spoiler alert, season two is on the way so in the end he obviously didn't kill himself. Just like Jeffrey Epstein. Shut up. I know he's your friend but I don't care.

Seriously, most films are awful. Lazy. Remakes, sequels. I've heard a rumor there might be a sequel to Sophie's Choice. I mean, that would just be Meryl just going, "Well, it's gotta be this one then." All the best actors have jumped to Netflix, HBO. And the actors who just do Hollywood movies now do fantasy-adventure nonsense. They wear masks and capes and really tight costumes. Their job isn't acting anymore. It's going to the gym twice a day and taking steroids, really. Have we got an award for most ripped junky? No point, we'd know who'd win that.

Martin Scorsese made the news for his controversial comments about the Marvel franchise. He said they're not real cinema and they remind him about theme parks. I agree. Although I don't know what he's doing hanging around theme parks. He's not big enough to go on the rides. He's tiny. The Irishman was amazing. It was amazing. It was great. Long, but amazing. It wasn't the only epic movie. Once Upon a Time in Hollywood, nearly three hours long. Leonardo DiCaprio attended the premiere and by the end his date was too old for him. Even Prince Andrew was like, "Come on, Leo, mate.You're nearly 50-something."

The world got to see James Corden as a fat pussy. He was also in the movie Cats. No one saw that movie. And the reviews, shocking. I saw one that said, "This is the worst thing to happen to cats since dogs." But Dame Judi Dench defended the film saying it was the film she was born to play because she loves nothing better than plunking herself down on the carpet, lifting her leg and licking her ass. (Coughs.) Hairball. She's old-school.

It's the last time, who cares? Apple roared into the TV game with The Morning Show, a superb drama about the importance of dignity and doing the right thing, made by a company that runs sweatshops in China. Well, you say you're woke but the companies you work for in China — unbelievable. Apple, Amazon, Disney. If ISIS started a streaming service you'd call your agent, wouldn't you?

So if you do win an award tonight, don't use it as a platform to make a political speech. You're in no position to lecture the public about anything. You know nothing about the real world. Most of you spent less time in school than Greta Thunberg.

So if you win, come up, accept your little award, thank your agent, and your God and fuck off, OK? It's already three hours long. Right, let's do the first award.

Source: https://www.hollywoodreporter.com/news/tra...

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In FILM AND TV 3 Tags RICKY GERVAIS, GOLDEN GLOBES, OPENING MONOLOGUE, COMEDY, TRANSCRIPT, HOLLYWOOD FOREIGN PRESS, EPSTEIN JOKE, DI CAPRIO JOKE, TWO POPES, APPLE, THUBERG, THUNBERG
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Julia Louis-Dreyfus: 'The really ridiculous thing is that I am just as good at drama', Mark Twain Award - 2018

November 22, 2018

18 October 2018, Kennedy Center, Washington DC, USA

Thank you. Thank you very much, thank you very much. Thank you so much. Stop, okay sit. Thank you. Thank you very much.

When Mark Twain first emailed me about the Mark Twain prize, I have to admit I totally misunderstood. I assumed that I was being asked to honour somebody else who was receiving the Mark Twain prize and I thought, oh my God what a hassle. I mean seriously, who would put me through this to have to go all the way to Washington D.C. which no offence, is a nightmare and make up flattering things to say about how funny someone else is. No fucking way.

And then I reread the email and I realised oh, it's me. They're giving it to me. I get the prize and my attitude about the whole thing changed. It really did. I don't know, honestly. I really don't know what I was thinking, this is a great night and a great honour and in beautiful Washington D.C. no less. Anybody would be lucky to be a part of a night like this honouring somebody like me, right?

As a great fan of the work of Mark Twain I was so sorry when I recently learned he was dead. My thoughts and prayers go out to the whole Twain family, especially the wonderful Shania. Unfortunately the President of the United States couldn't make it tonight either, even though he lives in the neighbourhood Mondays through Wednesdays.

I am so lucky to have been on television doing comedy for more than 35 years, isn't that ridiculous? The really ridiculous thing is that I am just as good at drama. Yeah, I'm going to tell you a little story, it's a little trivia. The very same week that I got cast in Seinfeld I was being considered for the juicy little part of Portia in director Sir Peter Hall's Broadway production of The Merchant of Venice. Apparently I didn't get the part since someone else eventually played the role on this stage and of course I'm happy that I didn't get that part because if I had I would have never have played Elaine on Seinfeld and without Seinfeld I would not be here today. So it worked out great, totally fabulous no regrets here, none at all. None whatsoever.

Anyway I think it's time for me to get into some serious thank yous. Abbi and Ilana thank you so much for taking time out of your busy schedule. Just to be completely clear, I gave an excellent audition for Merchant of Venice, okay? I mean just objectively speaking now. I nailed it, okay? So I'm just a little confused as to why Peter Hall didn't cast me. That's all, that's all. I'm not upset obviously because I love comedy and I love my career. So, where was I? Oh, yes, yes, yes. Keegan oh, my god Keegan-Micheal Key thank you so much for being here on my special night …

Look Sir Peter Hall might have made a mistake, okay. My audition was Portia's speech about mercy. You all probably know the scene. I mean obviously I am not gonna perform it right now because that would be a pretty weird tangent to hear Shakespeare intelligently and energetically performed in a middle of a comedy tribute to me, so.

Camille thank you for being here. It is so inspiring that you were able to co-opt your wife's harrowing medical ordeal for an Oscar nomination. Bryan Cranston you are a truly incomparable talent and a pleasure to work with. When I think of us on Seinfeld …

Look I'm just gonna do it. You want to hear it, right? I can do Shakespeare, okay.

The quality of mercy is not strained, it dropeth as a gentle rain from heaven upon the place beneath. It is twice blessed, it blessed of him that gives and him that takes.

Thank you. Thank you. And Stephen Colbert, my fellow Northwestern alum, thank you so much for being here. You are my every night hero when at 11:35 a nation turns its lonely eyes to you, woo, woo, woo.

Stephen used to play a manic conservative and now he plays a depressed liberal - that is range ladies and gentlemen. It is so great to see Lisa Kudrow here, setting me up just like in the old days when Friends would set up Seinfeld and just like in the old days Jerry's got all the money. And my darling dear, sweet Tony Hale. If I weren't already married and Bryan and Keegan weren't already married and if you weren't already married then I'd definitely get your opinion about any guy I was dating before marrying him.

And Tina Fey you are a comedy genius whom I admire above all humans. Tina was honoured with the Mark Twain prize too before they got real serious about who they give these things to. And thanks to my wonderful neighbour Jack Johnson. I was going to make a joke about Jack Johnson but for the love of god can't something remain sacred this evening?

And finally to my wonderful friend Jerry Seinfeld. I learned a lot from Jer over the years, principally the importance of hard work. Jerry killed himself to make Seinfeld good. He and Larry David worked so hard it is actually it is impossible to describe and they didn't just do it to make the show successful because once it was successful they worked even harder. And I hope a little of that rubbed off on me.

I grew up here in Washington D.C. back during the quaint old fashioned rule of law period. Being funny was a big part of my growing up. My great grandmother Bessy was the first person I remember telling jokes. She was in her 90s and I was really little and she would do these extremely repulsive impressions of her first grade teacher having life-threatening seizures. At least I think it was an impression. Anyway, either way I realised now that it was offensive and she was way, way out of line. But when I was five years old, hilarious stuff.

My mom and dad got divorced when I was three, also hilarious. My mom is actually here tonight with 80 of her closest friends. Last year I was lucky enough to get an Emmy Award for my performance on Veep which was an incredible thrill and it set some kind of a record for the most Emmys by somebody for doing something or other and then about twelve hours later I was diagnosed with cancer, another hilarious turn of events. I'm only half kidding, of course cancer isn't at all funny, but a big part of dealing with it has been finding the funny moment. The old cliché about laughter being the best medicine turns out to be true which is good because that's what the current administration is trying to replace Obamacare with.

When I was getting my hideous chemotherapy I'd cram a bunch of family and friends into this tiny treatment room with me and we really did have some great laughs. Of course I was heavily medicated and slipping in and out of consciousness so I was probably a pretty easy audience. But my point is, is that laughter is a basic human need along with love and food and an HBO subscription. There's no situation, none that isn't improved with a couple of laughs. Everybody needs laughs so the fact that I've had the opportunity to make people laugh for a living is one of the many blessings that I have received in my life. Okay.

According to Wikipedia I have two sons Charlie and Henry. When you're a working mother, oh, you really worry about the time spent away from your kids. You try your best to be there as much as possible, but the truth is, is that you miss stuff and you worry that they're gonna get all screwed up and suffer all kinds of angst and neurosis when they grow up and then you get the Mark Twain prize. I got to say it's worth it.

I'd also like to acknowledge my cherished husband Brad Hall who I didn't just marry because his name sounds like Peter Hall and it kind of felt like I was getting the part, no. Brad never fails to show up at events like this, this very one he puts on a suit, he puts on a smile and is the most supportive and present spouse in the world. No, nope, no. Yes thank you.

Thank you so, so much dear Brad. Thank you. And finally thanks to Mark and Mrs. Twain and to everyone who has participated in this exhausting evening. Thank you so much and good evening and thank you.

TINA FEY.jpg

Related content: Tina Fey, Mark Twain Award Acceptance, 2010

“I never dreamed that I would receive the Mark Twain Prize for American Humour. Mostly because my style is so typically Austrian.”

Source: https://www.youtube.com/watch?v=Nfe2MoPDdk...

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In COMEDY Tags JULIA LOUIS-DREYFUS, COMEDY, MARK TWAIN AWARD, KENNEDY CENTER, SEINFELD, JERRY SEINFELD, VEEP, TRANSCRIPT, CANCER, WORKING MOTHER
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Barack Obama: 'Ellen has a way of making us laugh about some thing rather than at someone', for Ellen de Generes, Presidential Medal of Freedom - 2016

November 23, 2016

 

 22 November 2016, Washington DC, USA 

Ellen has a way of making you laugh about some thing rather than at someone. 

Except when I danced on her show, she laughed at me.

   It’s easy to forget now, when we’ve come so far, where now marriage is equal under the law, just how much courage was required for Ellen to come out on the most public of stages almost 20 years ago. Just how important it was not just for the LGBT community, but for all us to see somebody so full of kindness and light. Somebody we liked so much, somebody who could be our neighbor or our colleague or our sister challenge our own assumptions. Remind us that we have more in common than we realize, push our country in the direction of justice. What an incredible burden it was to bear, to risk your career like that. People don’t do that very often.

But it's like Ellen says, 'we all want a tortilla chip that can support the weight of guacamole'. Which really makes no sense to me. But I thought I would break the mood, because I was getting choked up.

And she did pay a price. We don’t remember this, I hadn’t remembered it. She did, for a pretty long stretch of time–even in Hollywood,

And yet today, every day in every way Ellen counters what too often divides us with the countless things that bind us together and inspires us to be better, one joke, one dance at a time.

 

 

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In COMEDY Tags PRESIDENTIAL MEDAL, GAY & LESBIAN, COMEDY, ELLEN DE GENERES, TRANSCRIPT, LGBT, LGBTI, MEDAL OF FREEDOM, BARACK OBAMA, SPEAKOLIES 2016
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Steve Hely: 'I wanted to see wonders', Laguna Beach Festival of the Arts - 2016

August 4, 2016

24 July 2016, Laguna Beach, California, USA

Delivered for 'Books and Brunch' event at Laguna Beach Festival of the Arts. Steve Hely has written for The Office, 30 Rock, American Dad and Veep. His first novel won the Thurber Prize for American Humour. His current book is The Wonder Trail.

Guys, I have to tell you that although I’m really happy to be here, and delighted you invited me, I’m living out one of my biggest fears. 

I’m not afraid of public speaking, I’ve done it quite a few times, I even enjoy it.  But all the talks or speeches I’ve ever given have been inside.  I’ve never given one outside. 

It’s really hard to give a speech outside.  Inside, you’re kinda boxed in.  You’re a captive audience.  There’s nothing to stop you from wandering off into the hills or down to the beach.  Plus, I’m competing for your attention with nature.  Which, in a place as beautiful as Laguna is just not a good idea. 

Now, there have been a bunch of great speeches given outside.  Lincoln’s Gettysburg Address was given outside.  JFK’s inauguration speech.  Ronald Reagan’s Mr. Gorbachev, tear down this wall, that was an outdoor speech.  But guys, I have to confess to you: as a speaker I am not at a level with Abraham Lincoln, John F. Kennedy and Ronald Reagan. 

But I will promise you I will do my best. 

Laguna Beach is such a special place.  Let me tell you a story about Laguna Beach, because it has a place in my own family history. 

My grandfather was a doctor in the Navy during World War II.  Some of you probably know this but the Navy supplies the doctors for the Marine Corps., and my grandfather was assigned to the Marine Corps.  Sometime in 1944 they sent him to Camp Pendleton to train for amphibious landings.  He was engaged, and he sent for my grandmother.  She took a train across the country from Philadelphia by herself, probably her first trip away from home, and they got married in June. 

A lot of the doctors got married that summer, because they knew they were going to ship out.  And when they shipped out, they believed they weren’t coming back until they’d invaded Japan.  And they knew how hard that was going to be. 

But before they left all the doctors and their new wives got a one month honeymoon here in Laguna Beach. 

I think about that every time I come down here, and how intense that month must of felt, wonderful and terrifying at the same time, because when they shipped out they didn’t know when they’d come back or how they’d come back or if they’d come back. 

My grandfather did come back, though.  Which is lucky for me.  So I get to be here today with you on this beautiful Sunday. 

Life is wild, is I guess the point of my story.  It’s full of chances and miracles and disasters and ups and downs and things that are completely out of our control.  Who can say what we’re put here for?  We all have to look around and search ourselves and search the world and come up with answers to that for ourselves. 

One answer I’ve come up with for myself is that we’re put here to explore.  To experience the Earth and the places on it, to travel, to have adventures, to learn about other people, to share what we learn with other people, to learn what they have to share with us, and to communicate with each other. 

That’s what I wanted to do, I want to live life and explore and see as much of the world as I can.  I’m curious, I want to have a look, and if I find something that gets me excited, that fires up my interest, then I want to share that with you. 

One question I had that was bugging me was what’s the world south of us like.  If you go south, from here, not very far as all of you know, you come to the border with Mexico.  Well, what’s Mexico like?  How did it get that way?  And what’s beyond that?  South of Mexico there’s Central America.  I knew Central America had waterfalls and ruins and jungles and sloths and coffee plantations and coastlines that pirates had sailed along, and fruits I’d never tried, and volcanoes, and the Panama Canal, and hidden surf spots, and a million other things worth seeing.  I also knew they’ve had all kinds of problems there, civil wars and guerrilla movements and dictators and disasters. 

What’s it like there?  How’d it get that way? 

And beyond that there’s all of South America!  What’s going on down there?

Well that’s what I wanted to find out. 

I work as a TV writer on comedy shows, and by a fluke of luck I ended up with three months off, between two jobs.  And I thought ok, well great.  I’m gonna go south, and see as many places as I possibly can, and come back and tell you about them. 

So that’s what I did, I traveled south from here, and I went through Mexico, Guatemala, El Salvador, Nicaragua, Costa Rica, Panama, Colombia, Ecuador, Peru, Bolivia, and Chile, down to Tierra del Fuego at the bottom of South America. 

Then I came back, and I devoured a shelf full of books about these places, and I put what I learned into this book. 

Let me tell you three things about this trip, and what I learned, things that amazed me and still fascinate me. 

What’s now Mexico City was once called Tenochtitlan, and in the year 1519 it might have been the biggest city in the world.  It was for sure the biggest city in the Western Hemisphere.  The city sat on an island in the middle of a lake that was fifty miles long. 

Bernal Diaz was a Spaniard who saw this city in that year.  He says that men who’d seen Rome and Constantinople and every city in Spain were stunned by how enormous it was. 

He says there were weavers and seamstresses, and craftsmen who worked with gold and silver, and garment makers who made robes out of feathers.  There were painters and carvers and whole neighborhoods of clowns and acrobats and stilt-walkers.  There were gardens and ponds and “tanks of fresh water into which a stream flowed at one end and out of the other… [and] baths and walks and closets and rooms like summerhouses where they danced and sang.”  And there were people who sold human feces for use in tanning hides. 

Diaz was taken to the top of an enormous temple, and he could see out agross the city and the lake, he could see aqueducts and canoes coming and going and other cities and towns that you reached by drawbridge, and shrines that had gleaming white towers and castles and fortresses.

Well about a year later almost everyone in the city was dead, and the place had been destroyed. 

On the very site where there’d stood the biggest temple in Tenochtitlan, the Spanish started building a church.  And they kept building and building and working on it for over five hundred years.  Sometimes it would get knocked down in an earthquake or destroyed in a fire but that’s the spot, to this day, where you can see the cathedral of Mexico City. 

Greater Mexico City, all the land that was once that enormous lake, now has something like twenty million people in it.  In the book I try to describe the tiny fraction of it that I could see and experience. 

How about Costa Rica?  I bet there’re people here who’ve been to Costa Rica.  Costa Rica is a paradise!  There are rainforests and hot springs and beaches, and the people have a national philosophy of being chill.  In Costa Rica they don’t have an army.  They dissolved their army in the 1940s.  Now, Costa Rica is not perfect, but it’s neighbored by countries - Honduras, El Salvador, Nicaragua - that’re some of the most violent places in the world.  In El Salvador the murder rate is seventeen times the world average. 

Why do things work out so much better for one country than for another?  That’s something that interests me when I travel, and in the book I try and tell you what I found when I went looking for answers. 

But most of all when I set out on this adventure, I wanted to see wonders.  I wanted to drink the best cup of coffee.  I wanted to see the Amazon jungle.  I wanted to see Macchu Piccu, I wanted to see the Galapagos, I wanted to see the Andes mountains and the Atacama desert.  I know I’m not alone, I know there are people out there who want to see these too.  And some of you have seen them, and some of you will some day.  And some of you can’t really be bothered, and that’s ok, too.  For all of you, I wanted to share what I saw, and what I experienced, what excited my curiosity, and I hope it’ll excite yours too. 

So thanks so much for having me, it’s a real honor to be a part of this event.  You’re the best looking audience I’ve ever spoken to and I’m not just saying that. 

 

Purchase 'The Wonder Trail' here. Steve Hely is also a guest of the Melbourne Writers Festival in September 2016. Purchase tickets here. 

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In BOOKS Tags STEVE HELY, WRITERS FESTIVAL, BOOKS, COMEDY, FUNNY=, TRAVEL BOOK, TRANSCRIPT, THE WONDER TRAIL, SOUTH AMERICA, CENTRAL AMERICA, HUMOUR, TV WRITER
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Phyllis Diller: 'Nothing is impossible if you don't know you can't do it', 92Y Talks - 1992

March 28, 2016

4 October 1992, 92nd Street Y, New York City, USA

I want to tell you that I am delighted to be here. Of course, I'm delighted that you are here, and at my age, I am delighted to be anywhere. You know you are old when your favourite drink is Metamucil. That darling Elizabeth Taylor has a perfume out called Passion. I have one out called Regularity. You know you're old when you have sexual fantasies that involve Jessie Helms. The question that people always ask me is how do I manage to stay in business after 38 years, because some people come and go. Well, I just came. I don't intend to go, ever. All during dinner tonight with Susan and some friends, we talked about death, and what it's all about, and all that sort of thing, because I'm terribly interested in it, but first I'm interested in old, and I did a show at an old folks' home. I have some advice about visiting those places. Don't ever set a drink down, because every time I did, somebody dropped their teeth in it.

Milton Burl visited an old folks' home. The one out in Hollywood is very chic, and he was upset. He has a massive go, and he got upset because nobody remembered him. He went up to one lady and he said, "Do you know who I am?" She said, "No, but the lady at the desk will tell you." I have another tip. Be kind to your children because they will be choosing your rest home. I've already chosen one for Fang's mother, the Charles Manson Healthcare Centre. That old bitch. She went to the doctor with a pain under her left breast. Turned out to be a trick knee. People, that is a question I am constantly asked. How do you manage to stay in the business? Number one, I try very hard ... I shouldn't say try. I've taken that out of my caveat. You never say, "I'm trying to do this." You say, "I'm doing this." You say, take out every word that sounds like you might have a doubt. You have to always sound absolutely positive. I keep it up to date. That's what I'm going to say. I keep my act up to date, plus I work on it every day.

Trying. Putting in new lines about new people, and sometimes you find that in this life, a soap opera, you can call it life ... It is a soap opera, believe me. When you consider it. Say, take Elizabeth Taylor's life alone. She's been married eight times. If that isn't soap opera, I haven't watched, and I always wonder what goes through that eighth groom's mind on that wedding night. Is this passion or Memorex? Elizabeth Taylor, see, she's endlessly interesting. That's why she goes on forever. She's cover story work always, because she's ... Number one, she can do remarkable things like get fat and then get skinny. That's remarkable. Some people either get fat and stay ha or get skinny and stay skinny, but she gets fat and skinny, fat and skinny, fat and skinny, and they are going to do a TV mini series of her live. Her role will be played alternately by Cher and Roseanne Barr. Oh, I do enjoy my work. Oh, that's another thing. People say, "Why do you laugh?" I can't help it. I just can't help it.

I like to laugh, and I want to tell you, it is terribly healthy to laugh, so it will do you a lot of good if you find a place to laugh, because it shakes up the liver bile. While you're laughing, your entire body is in a state of healing. That's true. It's people who worry themselves into illness. That's true. I'm very much into psychosomatic health. If you've ever read that book, The Anatomy of an Illness by Oz ... What's his name? Norman Cousins, yes. Yes. Oh, god. What a wonderful book. He cured himself with comedy, and I sincerely believe that you can keep yourself healthy. Look at George Burns. He's about 108, and goes out dancing, has two martinis for lunch, two martinis for dinner. Maybe that's what's doing it. Maybe he's just pickled. He eats sparingly, too, but do you see, I think that people who deal in comedy are always looking at the funny side of everything. Of course, my what do you call it? Just a slight touch of Al Simmons.

Definition. That's the word I want. My definition of comedy is tragedy revisited. That is what comedy is made of, and of course it has ... If it's a serious tragedy, you have to give it time before you talk about it, but small tragedies, that's what comedy's all about. It's the old banana peel. When you think of someone who's just [inaudible 00:06:43] beautiful, like Bo Derrick, or Liz Taylor, or those classic beauties, like Grace Kelly. They are not funny. Poor darlings. When you see beauty, it isn't funny. It's something else, but comedy is a wonderful defence, and it's a wonderful, oh, it's a wonderful way to get through life, to always look at the funny side. I remember whenever I have been in the hospital, have had a double room, whoever was in the other bed always went home early because they were afraid they would blow their stitches, because I always found operations very funny. In fact, I have found operations very helpful when it comes to my face.

I'm an authority, of course, on plastic surgery. I got into it early, and have done a lot. I've had so many things done to my body, when I die, God won't know me. There are no two parts of my body the same age. That's true. If I have one more face lift, it'll be caesarian. I had to do something. I was so wrinkled I could screw my hats on it. One night I answered the door with a broom in my hand. A guy tried to sell me flight insurance. My face has been pulled up more times than Jimmy Swaggart's pants. Oh, we were discussing at dinner about heaven and hell. Is there one, or two, or aren't there, or are they, and different religions, of course ... Of course, a lot of religious wars that are still going on are sort of based on religions and differences in religions. I'll have to tell you about my belief, and I don't ask anyone to join me in my belief, because I started working on it when I was about four years old.

Because I was born to elderly parents ... I don't know how they did that, but then I was, because all the relatives, aunts and uncles, were terribly old, they kept dying, and I was taken to funerals as a young child, a lot of funerals. They were conducted in the home. It was just a nice day in the country, and they would put these old people in these beautiful boxes, all gift wrapped on up, and I had never seen my aunts and uncles look so good, or so dressed up and peaceful. I started thinking about death seriously as a child, and I touched them, and realised they were cold, hard, like cement. I realised they were definitely not alive, and I thought a lot about that, and started thinking about it early in life, because I wanted to decide. I find that if you have a lot of unresolved questions in your mind, it ties up a lot of your energy that you need for creative work, and for creatively handling your own life problems.

In order to handle your life problems, the whole idea is to solve them so that you don't have any. That's why another thing that I have written is that a good divorce is better than a bad marriage, because my theory is that you should get everything out of your life that isn't working, even if it's a dress, pair of shoes, or a husband. It's all the same, but for myself, I've decided that about that thing where you die and you go to heaven or you go to hell, one or the other, I decided that didn't make too much sense for me. The way my mother described heaven, and she believed that she would definitely go there, was that the streets were made of silver and gold. Number one, I thought that'd be awfully cold and slippery, and then you see these angels with wings, and I knew I couldn't handle that, so I wouldn't want to go there. I don't like heat enough to go to hell, because in Hollywood, we have automobile heaven. That's the automotive town of the world. Everybody from the driving age of 16, everybody has a car. That's why we have the smog. That's why you have to come to New York to get a breath of fresh air.

 You probably think you have smog. Oh, you don't. No. If you want a breath of fresh air in LA, you have to find a car with an out-of-state licence and open a tyre. There are people who go to simply automobile heaven, and there were three men who died in the same auto accident, and they all went there simultaneously. Saint Peter asked them, they were asked questions. Had they been true to their wives, and the first fellow was a realtor. He said that he had actually had an affair, and that was it, but other than that, he had been true, so they gave him a Buick to drive around heaven in. The next guy was a travelling salesman, and he had a worse record. He had had not only an affair, but various little people on the road. Then there was another man who had had two mistresses, and many one-night stands, and he was given the piece of junk, an old Volkswagen Bug with no fenders and half an engine and a door hanging on it to drive around it. He was sorry that he had been such a stud. Then he saw his wife go past on a skateboard.

I personally decided years and years ago, as I guess a teenager, that this life is it, because I believe in nature, and I'm a naturalist. That's why I believe that in nature, in more ways than that. I think nature cannot be gone against. I don't think you can go against nature. I think nature is of the law. For instance, I am against taking the pill because it's sort of like holding back the tide, which I wouldn't want to try that. I think it's wrong to go against life's cycles, and try to manipulate them, and I think it's playing with fire. Another thing. For instance, they just recently came out, and of course the dairy farmers are going to go nuts. They're saying that the dairy products are not good for adults, and of course, I would agree because of my feeling that all mammals are weaned, and then they don't ever have milk again. That to me would be nature's way.

I learned something recently. I was playing in a gambling town, and I was paying for something I'd bought. The lady at the cash register has a, get ready, pet tarantula. It's a mammal. Can you feature a tarantula nursing its young? I had no idea. I love to find out those strange things that you don't know about, but we were talking about ... Oh, anyway, so I feel that when I die, now I don't know when you're going to go, but I'm just going to be dead. I will regret my death, I know that, because I know I'm going to miss me. I don't have to have the promise of anything more. This life has been so wonderful. It is so wonderful. Life is so wonderful, and it's good to be alive. You see, if all those people who put all that money into these evangelists' coffers, they are all afraid of dying and going to hell, which gives you an idea of the kind of life they're leading. They're having a lot of fun, but these people, they offer them eternal life, meaning going to heaven, and having a great time up there, and getting them out of hell.

They won't go to hell if you give them money. That's what the promise. How about that? Jim Jones, who took 900 people down to where he thought he'd never be found, and they gave him everything they had, just to get into heaven and not go to hell. They gave him everything mortal, physical things that they had, property, money, whatever they had, just to be taken care of. In other words, they want a daddy. They want someone to take care of them. They don't want to do it themselves. See, life is a do-it-yourself kit, and the minute you find that out, you're on your way, because people who are just beginning things, they want help, and they're always begging for help, and asking for help. There will be help if you don't ask for it, but asking for it almost repels the help. It's sort of like being [inaudible 00:17:00], begging, and you don't like to look at those people. You like to help people who actually probably don't need it. It's the way you get a loan at the bank. Don't need it.

When you need it, you can't have it. I think there's a line in the Bible. To him that hath, it shall be given. From him who hath not, it shall be taken away, so you got to act rich. Where was I? Oh, god. I do ramble. Oh. Oh, those people who take all the money. That Jim Jones, my god, so then they all drank the Kool-Aid. 900 dead people. What a horrible thing. That's a mass suicide. That to me is the sad, sad, and these evangelists like Jimmy Swaggart. What a nasty man. He just does a lot of crying, cries, and cries, and cries. He sins, and he repents, and he cries, and ugh. I haven't seen a face that wet since Jacques Gusto came up for air. That Tammy Fay Bakker. What a ugly little bitch. She looks like a Pekingese. She looks like a little dog that was running too fast, hit the wall. Then she cries, and runs all down, and then she looks like an Exxon oil spill. All that black stuff on her.

There was a funny moment in the Exxon trial when they tried Hazelwood. The judge said, "Order in the court," and Hazelwood said, "I'll have a Harvey Wallbanger." Of course, this was a year when television to look at was mostly trials with Clarence Thomas, and Willy Smith, and all those people. Ted Kennedy starred in most of those trials, and John Kennedy Jr., he's a lawyer. I think he could make a very fine living just defending the family. Think of all the money that could be saved if they didn't give it to these evangelists, and ask Swaggart, "If you ever flip the dial," and he always pulls the Bible out here, and I know he's looking for loopholes to cover him. Tammy Fay's husband, that Jim Bakker, he probably put two Ks in his name so it would balance Swaggart with two G's. Probably went to a numerologist. Numerology, they're always telling you how to spell your name? Anyway, he set any religion back years, and gave a whole new meaning to the term missionary position.

Of course that Oral Roberts started that. He's another one. What a terrible name to give a little boy. You remember four years ago, when he walked up into his prayer tower and spoke with God, who spoke English. Then he came down and spoke with his flock, whom he is fleecing, and he said, "If you don't send me $8 million by March, God will take me." Of course, now, I have had doctors like that, especially doctors out in Hollywood are very strange. This one doctor said, "Take off your clothes." He put them on. There's another doctor out there, if you want a second opinion, he goes out, comes back in. Friend of mine went to the doctor, and she said, "One of my breasts is longer than the other one." The doctor says, "That is not unusual." She said, "But ... " He wanted to know if she knew why one of her breasts is longer, and she said, "Well, I think I have an idea. It may be because my husband likes to sleep with one of them in his mouth." The doctor said, "Well, that isn't unusual either." She said, "We have twin beds."

Doctors ask these dumb questions like, "How old are you?" I said, "You mean now or when I came into your waiting room?" Boy, they do make you wait. While you're waiting, you get a lot sicker reading those germy magazines. People cough in there, and spit in there, and all that. Just breathing those magazines is enough to make you sick, and they ask these stupid questions. One doctor asked me if I had any running sores. I said, "No." He said, "Do you have a rash?" I said, "No." He said, "Do you have herpes?" I said, "No." He said, "What are you doing Friday?" Of course, the main thing is to not get into the hospital. Don't let these doctors stick you in there, because that's when they are through with you, and nurses are overworked, underpaid, and they hate sick people. The last time I was in I had this great big butch thing, nurse thing. Oh. She had one eyebrow went all the way around her head. Small animals were trapped in the hair on her legs.

She came into the room with a needle. I said, "I hope that's an umbrella." If you complain about anything, you get the Velcro bedpan. It may never come off, and I told her if I pass on, I'd like to be cremated. Hell, she set the bed on fire, and I met the dumbest woman I have ever met in the other bed. I had a double room. This woman should marry Fang. They would be very happy together, because he is the dumbest man in the world. There is no doubt in my mind, whatever. Oh, God, just the other day, I said, "Look at the dead bird." He looked up. He was reading the obituaries, and he said, "Isn't it just amazing how people die in alphabetical order?" This woman had twins and the doctor brought them both in. She thought she had a choice. I wish I had ever had a choice. In my day, there was no pill. It was trick or treat, and we had far too many kids, far too many kids. At one time in our playpen, there was standing room only. It looked like a bus stop for midgets.

Used to get so damp in there we'd get a rainbow above it, because housekeeping is not one of my long suits. In fact, it's not any of my long suits. I hate it. I just hate it. One time I asked Fang, "What could I do in the bedroom to thrill you?" He said, "Clean it." He's always threatening. He says, "Housework never killed anybody." I say, "Why take a chance?" That woman and Fang and our dog, his dog is stupid, too, they would make a lovely family, and then I'd be rid of him. What a lovely thought. The happiest day of my life will be the day I open that refrigerator door and see his face on a milk carton. After 50 years with Fang, Claus von Bülow looks good. That's the way, but of course, I can't begin to tell you how stupid he is. I asked him to spell Mississippi one day. He said, "The river or the state?" He thinks Roe vs. Wade is about two guys in a canoe. Oh, god. He is dumb.

He read in the newspaper where 75% of all accents happen within 25 miles of your own home. Now he wants to move. And add to that, a new thing he's got. Paranoia, and he caught this at the mall. That's where he caught paranoia. He went up to one of those maps, and it said, "You are here." He wants to know how they know. He checked all the maps. They always knew. Of course, this is the same man who drove downtown, came to a flashing red light, and stopped 13 times going through the intersection. This is the man who every time he drives over the house at the gas station, he answers the car phone. Somebody gave him a camera for his birthday, just got back his first roll of film. 12 shots of his right eye. He's afraid of everything. He's a coward. He's afraid of his own shadow. He says it isn't his. Can't get him on an aeroplane because I can't get him past the bar. He's a terrible drunk. My god, oh, and besides, he said he's never read of two bars colliding in midair.

Oh, what a drinker. You ought to see him in the morning with a hangover and the shakes. He can thread a sewing machine while it's running, and then the idiot tries to shave with a straight razor. One morning, he lost so much blood his eyes cleared up. He's scared to death of everything, and once I tricked him. I got him on an aeroplane to London, and it's a long trip. It's 15 hours from where we are, and we lost an engine, and the captain's voice came over the loudspeaker. He said, "Now don't worry about a thing. Relax. It just means we will be one hour late landing at Heathrow," and then we lost another engine. He comes on the loudspeaker again. He says, "Now relax. This is a fine aeroplane. There's nothing to worry about. It just means we'll be two hours late landing in London." We lost another engine and Fang said, "Jesus Christ. We lose one more, we'll be up here all night." After we got to London, we had to do all those sites, so those wonderful, red, double decker buses that you sight see.

Oh, they are so cute, and I rode downstairs, and he went upstairs. When he got off, he was white as a sheet. He'd had a couple of heart arrests. He was hardly walking. He was shaking. I said, "What is wrong with you?" He said, "Ha ha. You had a driver." Everybody asks, "Is Fang real?" He's every man. He isn't real. I'm a single person, and I have been married twice. These are some of the questions you might ask, and of course, before I got married before I had been done over. You see, I was always very ugly. I don't know how to tell you this. On our wedding night, I said to Fang, "Let me hear those three little words." He said, "God, you're ugly." For you to be an ugly girl to have a beautiful sister is the pits. Oh, that was it. My complexion was the pits, and hers was peaches. She had all the boys. She was a cheerleader. She had pom poms. I had no pom poms. How can you have a cleavage when you have no cleaves?

They want me to talk a little bit about the technical part of being funny. It helps to be somehow dysplastic in some way, dis ... By that, I mean away from the norm. For instance, Martha Ray had a big mouth, big, big, big mouth, and oh, it comes down to us from the age of kings and medieval times when it was the court jester, who had turned up boots, and wore gloves. All clowns wear gloves, even Mickey Mouse, and they usually had a big hook nose. You've seen them. The court jester always looked the same. He was often a hunchback. Of course, that bring us to Dolly Parton, who's a hunch front. He was sometimes a dwarf, but anyway, in comedy, it helps to be in some way not ideally beautiful, because that tends to make you grow up not funny. Having something to defend yourself about makes for a comic. Comics are made in childhood, and because I've done a great deal of analysis of what makes a comic, my theories are that it's a child who is a hypersensitive child, who is very bright, who is somehow - feels - maybe it isn't even real - feels some sense of abandonment or lack in childhood, emotionally.

It often creates a comic. It's often an only child who doesn't have other children to play with, so they tend to have a wild imagination, and that would ... I think I'll start that sentence again. I had about 18 syllables and no words. Someone asked me what I thought of current comedy as opposed to older comedy. Oh, I want to go back to Martha Ray. Carol Burnett used to have sort of teeth that stuck out, and then less chin than one would want. She's my idol. She's had it fixed, though. She's had everything fixed. She's rich, but the thing is, Martha was ... She always did that teeth commercial. These are very lucrative deals. What's her name. What was that. McLaine. Shirley McLaine does a commercial for cat food, nine lives. Martha had that commercial for the teeth, and then after she couldn't do it anymore because she was ill, they offered it to me, and do you know that I couldn't have it because I have my own teeth, and I didn't think it was worth having them pulled.

That means that June Alison wets her pants. There's this new thing about truth in advertising. The other day, my manager called and he said, "Do you have rheumatism?" I said, "No." He said, "Well, there's this commercial." I said, "Yes, I have it very bad." I can get it. Anyone can have it, but in the old days of comedy, there was a time when I was really the only standup comic. I want to tell you about three categories of comedy, for females only. I won't go into the male. There's comic, which is what I am. That means you just stand up on a bare stage, or all alone. You work in one, meaning that's it. You are responsible for your own material. A comic actress works ensemble. That would be Lucy Ball, Carol Burnett, and that's a comic actress, or movies, sketches. They work always with other people, and things are written for them mainly. Then there is comedian, which is a lighter form of comedy. They sing. They dance. They might work with dancing boys, and they might change costumes. In other words, it's lighter and they're not necessarily responsible for their own material, so there's three categories of female comedy.

Before me, there were practically no female standup comics, and I didn't know that, or I probably would've thought it was impossible. Nothing is impossible if you don't know you can't do it. Anything is possible, if you believe that you can do it. I'm sure that's in all the good books. The main thing is believing. There's a friend in the audience tonight, Donald Wild, who wrote a play which I put on the boards. I loved it so much. It was called "What Are We Gonna Do With Jenny?" It was about a reverse generation gap. In other words, the children were horrified at the mother, because she was living with an old man, and not married to him, and having a ball. She painted nudes all day long, and sipped champagne, and was happy as a lark, and her daughters were quite upset about that. I loved the play, and it went very well. We did it in Chicago, and then it travelled in Europe, and South Africa, I guess, but anyway, Donald is here tonight, and I am so thrilled that you are here, Donald.

 I have no idea what I was setting up there. See, I don't do lectures. I just didn't do this one. I have no idea what I'm talking about. I think this would be a very good place to throw this open to discussion, and we'll do what Joan Rivers, my dear friend ... Oh, I know what I was talking about. That brought it all back. She always said, "Can we talk?" I love her. I'll tell you, for 10 years, I had this field all to myself. Then along came Joan Rivers, whom I adore. She's Phi Betta Kappa, bright broad, and then after we had it all to ourselves for another 10 years. 20 years of just the two of us, and now, I got to tell you, there are 250 female comics, and many of them are extremely, extremely talented. There are 500 new male standup comics, young men, middle-aged men. Of course, everybody to me is young. Imagine three quarters of a century. Oh, my god. Anyway. It took me that long to solve all my problems, and to reach a plateau of happiness I didn't know existed. One, the pinnacle of it is right here tonight with you, and it's wonderful to be happy.

On the question of craft, Phyllis Diller also famously kept a gag file. See clip below.

Source: https://www.youtube.com/watch?v=dyrdspg9uA...

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In COMEDY Tags PHYLLIS DILLER, 92Y TALKS, COMEDY, COMEDY CRAFT
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Steve Martin: 'There’s only one thing that could have made tonight more special to me', Tribute to Frank Capra, AFI Life Achievement - 1982

February 3, 2016

Aired 4 April 1982, Los Angeles, USA

I guess of all the people here tonight, I share the most memories with Mr Capra.

For he and I have known each other for over eighty years.

We’ve worked together, played together, and made many films together. So many I can’t even remember any of their titles.

There’s only one thing that could have made tonight more special to me, and that’s if this dinner had been in my honour.

I’d like to read a quote of Mr Capra’s: "An onion can make you cry. But there’s yet to be invented a vegetable that can make you laugh".

Source: https://www.youtube.com/watch?v=bED5YzBI8w...

Enjoyed this speech? Speakola is a labour of love and I’d be very grateful if you would share, tweet or like it. Thank you.

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In FILM & TV Tags STEVE MARTIN, FRANK CAPRA, AFI, AMERICAN FILM INSTITUTE, TRIBUTE, COMEDY
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Justin Heazlewood (The Bedroom Philosopher): 'University: discuss', HERDSA Conference - 2015

December 18, 2015

6 July 2015, Melbourne Exhibition Centre, Melbourne, Australia

Justin Heazlewood (aka The Bedroom Philosopher) is the author of Funemployed (Affirm, 2014), a magnificent book on the struggle to make a living in the arts. He delivered this to the Higher Education Research and Development Society of Australasia national conference.

Hey thanks. Thanks for having me here this morning. It's sort of taken me back to my uni days. Already I've heard the word 'disseminate', and 'module' this morning and I am having a small anxiety attack as we speak and I will have to have an extension of some kind.

Just on life.

How many uni students does it take to change a light bulb?

When’s it due in?

Three uni students walk into a bar ...

Discuss.

And the last ticket on the laughs train [toot toot] to Comedysville ...

Knock Knock

Who’s there

Your HECS debt ...

Great. If you found that funny, we’re going to be great friends. If you didn’t find that so funny, you may have to leave immediately.

I haven’t seen this many academics in the one room ... since my last gig, actually. I started a band in Canberra, sort of matching educational policy to the songs of AC/DC, I dunno if you guys heard of us, Acca-dacca-demia? We were sort of well known for a while.

We had some hits: ‘It’s a long way to the office if you want to re-enrol’

You Took Me All Night Long (Ode to my media ethics essay)

Information Superhighway to Hell

So I’m originally from Tasmania but I did university in Canberra.  And there’s a saying, you can take the man out of Tasmania, and then it’s just ‘Tasia’.

I grew up in Burnie, sort of a small town, and when I got to Canberra, you know, whne you come from Tasmania, Canberra’s sort of like New York with roundabouts.

And I remember my first day , I did Professional Writing and I think I had Journalism as my first lecture. Just this pretty surly lecturer, just kind of screaming at us about theimportance of deadlines, 'if you hand your assignment in five minutes late, doesn't matter, instant fail! No excuses, we tend to get a lot of dead of dead grandmothers round exam time.' That was her exact quote on the first day of university. So I'm just sitting there, with this image of these nans, just sort of piled up, cardigans and glasses askew, this unncessary slaughter.

If you look at journalistic grammar, and the safety of grandparents, there is a connection there because if you take the sentence 'Let's eat nan,' for example, and you put the comma in the correct place, the sentence is, "Let's eat, nan'. But if you ignore that comma it just becomes 'Let's eat nan. [pauses]  Oh no, I've eaten my grandma'

Bad gramma is bad for gramma.

H'yeh. It's an illness.

So as far as the actual degree went. The core creative writing subject was great.It made me write, that was pretty much why I was there I think. We were told how to pursue work as a freelance writer – but looking back in retrospect , having tried to make a career out of this, I find it bemusing that in three years nobody told how to write an invoice or to fill out a tax statement, or that you're really running your own small business.

But they certainly found time for subjects like Culture, Identity and Post coloniality. Oh please, can I sign up to that one.

In media studies we watched Road Runner for its narrative structure. You know they say it's best not to over analyse things. So given my epic 9 cotnact hours a week, I basically assignedmyself my own side degree. Cutting my teeth on a spachelor of arts in the school of soft knocks. 

I joined the theatre society where I starred in Psycho Beach Party where I was told I’d have to pash another boy on stage. I was like, 'yeah alright ... now it's starting to feel like uni'.

I wrote for the uni magazine Curio, mostly so I could scam free CDs and do an interview with Powderfinger that I still need to type up. Is that too late?

I started my own band, The Harmonica Lewsinskis. Yeah, people had heard of us but never seen us.

So between the shy Asian students and sports science hoons blaring Shania Twain I sort of had room to swing my freelance sword and develop my sense of innovation, arguably the most important attribute to an artistic career. Even if I couldn’t write an invoice. I guess that okay.

And I graduated, and I guess I found that BA sort of stood for bar attendant, and I got a job as a bar attendant. As far as how I became an artist, I sort of had to make it up as I went along. And a lot of what I learned, I put into my book Funemployed: Life as an artist in Australia, which I'll probably be flogging at the end of this talk.

So perhaps we'll go to the next slide if I may.

I know how much you like Venn diagrams.

 

At their best our universities are the finishing schools for our soul, shaping skill sets and ideologies and fostering the kind of intelligence you want leaked all over this wide brown country of ours.

I should have thought about my metaphors.

At their worst universities are expensive daycare centres for trainee alcoholics , with resepct – one big snooze button for adulthood.

As a student I sometimes felt I was too naïve to learn, while my lecturers were too jaded to teach.

In the words of captain Picard, however, there is a way to “engage.”

They say the average Gen Z student will have fifteen jobs in their lifetime. Perhaps course outlines and the way we package university degrees should take this into account.  And I'd just like to propose the patented Justin Heazlewood 'Variety pack' (shows Kellogs pack) approach to education.  So maybe Corn flakes could be Law. Coco Pops could be Arts. Sustain could be Business ... 'you gotta sustain yourself in life. Justin, you know, you gotta be able to afford a house', Special K, that'd probably be medicine. Maybe women's medicine?

Just go on to the next graphic here, how an artist spends their time.

 

I've become a professional artist. A lot of thinking, a lot of worrying, not a lot of maths. Some bitching, we are living in a very hyper competitive world, networking, not working, it's all there.

Students have to face a complex and uncertain future – yes, uncertain whether they’ll end up primary or high school teachers.

It is a complex world though, no doubt. Complex in the way that in World War I & II, there were like literal minefields for people to wade through. Today, students are faced with like metaphorical minefields - oh man! - take the situation of thirty philosophy graduates all going for the same advertising job. Oh what a minefield. Or the irony of being a qualified engineer from Sudan, with a career driving one.

Despite the desperate pleas of my family and Centrelink to simmer down and 'find a nice office job for the love of God Justin'  - I’ve established a career as a writer slash comedian slash wrists. 14 years and counting ... my credit card debt.

Last year I released my book Funemployed, it was my own personal PHD crash course self-help tell-all. You’re not alone, was the takehome message – the arts are a satellite industry and we’re all but orbiting the same sun.

If I knew at uni what I know now, I’d be one of those creepy mature age students answering every question. No one likes them. Uni for me was about time richness, it was aboutexperimentation.  Having the space to fail. Sometimes not knowing what you’re doing, is the best way to learn.

Thank you for having me. I'd like to leave you now with a video called 'I Don't Know What I'm Doing With My Life'. It's about not knowing what I'm doing with my life.

Video from 11:12

You can hire Justin for conferences, debates, MC roles through Speaking Out agency.

Justin Heazlewood's depressingly uplifting arts bible, Funemployed features the thoughts on working in the arts from many of Australia's creative luminaries. You can buy it here.




Source: https://www.youtube.com/watch?v=uByuz_wjAy...

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In COMEDY Tags JUSTIN HEAZLEWOOD, THE BEDROOM PHILOSOPHER, COMEDY, UNIVERSITY, ARTS, WRITER, ARTS CAREERS, HERDSA, HIGHER EDUCATION
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George Carlin: 'I’m a modern man, a man for the millennium', Mark Twain award acceptance - 2011

November 30, 2015

5 November 2005, Beacon Theatre, New York City, New York, USA

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond!
I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive.

Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial!

I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers.

I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail.

But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant.

I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn.

I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity.

I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

Source: www.pbs.org/mark-twain-prize/

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In COMEDY Tags GEROGE CARLIN, COMEDY, COMEDY AWARDS, KENNEDY CENTRE, MARK TWAIN AWARD, MONOLOGUE
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Ben Pobjie: 'Shock is a huge and fundamental part of what makes comedy work', In Defence of Offence, Wheeler Centre - 2011

November 26, 2015

24 March 2011, Wheeler Centre, Melbourne, Australia

Speech was adpated into article for Meanjin. Text below is article rather than transcript.

What are we allowed to laugh at? This may seem like an odd question – we’re “allowed” to laugh at anything we want to, surely? In this country nobody’s going to arrest us for laughing at something. We’re free to indulge our own personal tastes.

But…there is a but. Nobody’s going to arrest you, but that doesn’t mean there are no consequences for laughing at the wrong thing. Laugh at a major car crash, and you’re going to attract, at the very least, some disapproving looks. Laugh at the wrong joke at the wrong time, or in the wrong company, and ostracisation awaits. In truth, we all find ourselves on guard against our own senses of humour lest we inadvertently laugh at something that’s racist, sexist, homophobic, or seen on Two and a Half Men. What we are allowed to laugh at is always relative to the situation – the rules are different at a suburban barbecue than at a Green Party fundraiser, or at a late-night stand-up show than your grandmother’s birthday party – but no matter where you are, there are going to be some unwritten rules about what you should or should not be finding funny if you want to fit in.

Of course, for those of us who are attempting to make a living by making others laugh, the stakes are higher. If laughing at the wrong thing can result in a social faux pas, trying to convince people to laugh at the wrong thing might mean risking your job and seeing your family starve. As somebody who, in the second week of my stint as a radio presenter, received a phone call from a listener which began with the rather blunt question, “are you the guys who think rape is funny?” this was brought home to me with a certain clarity. Fortunately it was only community radio, and the only real consequence of the affair was to give me a bit more spare time in the evenings, but it did demonstrate just how dangerous a business it can be, taking the thoughts in your head that you think are funny, and transmitting them to a wider world that may not only find them unfunny, but sickeningly offensive.

For the record, the answer to the listener’s question was, no, I don’t find rape funny. But yes, our show had just broadcast a joke which featured the word “rape” in it. Some people would find that reason enough to ban someone from the airwaves, and indeed some people did. But there are two issues here: whether jokes about a certain subject ought not be made, and whether jokes about a certain subject indicate that the joker thinks the subject itself is funny.

Let’s start with that most dangerous of comedic grounds – the rape joke, or perhaps more accurately, the joke about rape. Jokes about rape, incidentally, are neither new, nor all that uncommon in popular culture – in fact in many cases they pass by with barely a raised eyebrow: prison rape, for example, is practically a time-tested family comedy staple. So too is the old convention so beloved of British comedies of a certain era: that of the man “chasing” the object of his desire – often in a very literal sense – with the aim of claiming his unwilling quarry, should he manage to be quick enough on his feet. In those scenarios, rape was not so much a crime as a sort of sport: if the woman wants to reject a fellow’s advances, let her get her skates on, and good luck to her if she can get away. The supposed inherent unwillingness of women to have sex, and the dogged determination of men to overcome their resistance, is one of the oldest comedic concepts in the book.

Beyond such ancient tropes as these – which probably are not even recognised as “rape jokes” by many – references to rape in comedy are abundant. From Monty Python, to Family Guy, to Arrested Development, The Office, to Ferris Bueller’s Day Off, comedy has been wrought out of this horrific crime. And undoubtedly there are many who think that it shouldn’t have been. But do those people actually believe that the writers and performers of these jokes “think rape is funny”? That they would witness a rape, and laugh? Or chuckle their way through a rape trial?

The question is important, because it actually goes to the very heart of why comedy exists. Whenever a controversy flares up about comedy that is seen to have gone “too far”, there is a cry that is taken up by the morally outraged: “So you think X is funny, do you?” (for “X”, substitute rape/paedophilia/domestic violence/genocide/sick kids/train timetables) And the implication behind this cry is clear: that when we make jokes, we are making them about things that are inherently funny. That is, that to create comedy, what you do is look around you, see what’s funny, and then point that fact out to the world.

And on the face of it, that seems perfectly reasonable: isn’t that what comedians do? Find the “lighter side”? Obvious, isn’t it? If you make a joke about something, it’s because that something is funny.

Except…it’s not actually true, is it? Comedy’s not actually about showing us what’s funny: it’s about making things funny. And that’s what should be obvious. Look through the history of comedy and it’s littered with jokes, comic scenes, and entire films and TV shows based on the most deadly serious of topics. Comedies about murder, about war, about Nazis, about organised crime. Should we assume that the creators of Dad’s Army thought World War 2 was hilarious? Or the creators of MASH, about Korea? What about the classic Ealing film The Ladykillers? Was it made by men who thought criminal gangs murdering old ladies was giggleworthy?

I suspect the answer to all of these questions is no. The reason these topics were chosen for comedy was not because they are, or were, funny in real life, but rather because the art of comedy is finding a way to create humour out of situations, not depicting life as it is.

This is not just about the grim and potentially offensive subjects. Barely any comedic situations are funny in and of themselves. There is, in fact, nothing particularly funny about running a hotel. Or an office. Or being a psychiatrist. To be perfectly honest, and from personal experience, there’s not even anything particularly funny about the life of a stand-up comedian. Practically any comedy you care to name could have been a drama, or even a tragedy, with the same plot, played differently.

In fact, if we were only to make jokes about things that were funny in real life, what would be the point of comedy in the first place? If comedians were, in fact, to be restricted to that which makes us laugh already, why have comedians? The popular phrase is “it’s funny because it’s true”, but the more accurate cliché is “it’s the way that you tell ‘em”. Anyone can tell a story about something funny that happened to them today: we watch comedies because they tell us stories that are funnier than what happened to us today.

But even so, one might say, why be offensive? There’s plenty of serious, real-life subjects to make light of, without delving into the sort of grim, dangerous territory that sparks angry talkback and furious editorials. Is there really a need to offend, to make comedy out of the very darkest corners of life?

Well, that’s a vexed question. In a literal sense, of course there isn’t. In the world of comedy – in fact, in the world of entertainment and art in general – there isn’t a need for anything in particular. The world won’t end if offensive comedy disappears from it; comedy itself will carry on without offensiveness; we could stick with nice, polite, kindhearted comedy designed not to upset anyone, and everything would, it seems likely, be fine. Nobody would be upset, people would still have a few chuckles, life would go on. So why be offensive?

There are a few reasons. First of all, it can be said, upfront: some people just think the subjects are funny, in and of themselves. Yes, there are people who think rape is funny. Yes, there are genuinely racist and misogynist and homophobic jokes. To argue that so-called offensive comedy can be a good thing isn’t the same as claiming there is no “bad” offensive comedy. There surely is, and it should rightfully be censured. But apart from what one might call the imperative to err on the side of free speech, it’s very important – if sometimes difficult – to distinguish between those who make racist, misogynist, homophobic or otherwise offensive jokes, and those who make jokes about these subjects for reasons other than promoting racism, misogyny, homophobia, et al.

One of these other reasons – and to some this may not sound like much of a defence, but here we go – is shock. The simple fact is that shock is a huge and fundamental part of what makes comedy work – not “shock” in the sense of moral outrage or hysteria, but shock simply in the sense of surprise, of the unexpected. While not wanting to lay down any blanket rules as to what comedy is, at the very least a big slab of it works via that jolt to the brain that comes from an unexpected punchline, an abrupt sight gag, a conversation suddenly taking a surprise twist. Humour works, in large part, through shock – not to our delicate sensibilities, but to our neurons. And the bigger the shock, the bigger the laugh. The sharper the left-turn, the more surprising the punchline, the more out-of-the-blue the pratfall, the funnier we’ll find it. Therefore, in searching for a bigger laugh, the comedian will frequently go for the most “shocking” conclusion to the gag. And so extreme references will find their way into jokes, not out of a desire to offend, and often not even because the sensitive subject is what the joke is about, but simply in an attempt to provoke the greatest spontaneous explosion of laughter. And so, in seeking to make a joke about, say, the Prime Minister, one searches for the most extreme juxtaposition possible, out of nothing more than a wish to be funny. And thus was how we arrived at the aforementioned “do you think rape is funny” call to the radio station.

Now as I said, to many, this reason for being offensive is unlikely to represent a convincing defence. “I only said it because I wanted to shock people” may not absolve the comedian from blame in the court of public opinion – in fact it could inflame matters. But it is to be hoped that when a little insight is given into the construction and function of comedy, more thoughtful observers will at the very least concede that an attempt to shock is not necessarily an attempt to offend, and that even something that offends someone grievously may not have been intended to. Many comedians are happy to be accused of being offensive: few are as happy with being seen as being deliberately hurtful, although both of these are likely to be an occupational hazard. Is it worth facing any such accusations for the sake of a bigger laugh? Each can decide for him or herself, but surely if we’re going to have comedians, we can hardly expect them not to look for every opportunity to be as funny as they possibly can. Isn’t every artist expected as a matter of course to use all tools at their disposal to be the best artist they can be?

But there is another reason why “offensive” jokes may find their way into public, which might be called the more “noble” reason. This involves the use of comedy as release, challenge, and catharsis. It can be useful for us to deal with difficult issues by finding ways to laugh at them. It can demystify them, break down taboos, and challenge us to think in different ways. Often, once we laugh at a subject, we are better able to talk about it. Frightening things like disease and death become less frightening because they have been laughed at. And just as importantly, frightening people become less frightening too. It’s why dictators hate being ridiculed so much: when you’re made ridiculous, it’s a lot harder to scare anyone. The perpetrators of violence in our own society loom less large if they’re figures of fun. Furthermore, jokes can challenge our own preconceptions, and force us to reconsider just what we think about an issue.

In this sense, comedy can be used as a weapon against oppression, but this will necessitate that it deal with sensitive issues. If you want to ridicule a dictator, you have to make jokes about dictators. If you want to ridicule racism, you have to make jokes about racists. And if you want to ridicule rapists, you have to make jokes – deep breath – about rape.

Are these jokes “necessary”? Perhaps not, but that doesn’t mean they don’t have a purpose. And that doesn’t mean the comedians making these jokes are taking an immoral position, or in some way making a statement that the real-life consequences of these issues are themselves “funny”.

However, no matter the intentions, the purpose, or even whether or not the comedian is on the side of the “angels” on a given issue, there will be plenty whose protest against a joke is on the grounds that, there are things that just should not be joked about, full stop.

So, given that the comedian’s job is to perform the base-metal-to-gold trick of making the serious business of life funny, are there any aspects of life that we just shouldn’t even try to make funny? Are there subjects that are simply too serious, too sensitive, too likely to upset and offend, to even mention in a comedic context? Certainly there are few, if any, subjects that haven’t, at some point, been the subject of comedy, but does that make it right? Is it possible to determine the morality of comedy simply by what it’s about, rather than what it contains?

I’ve been asked before, “Is there any subject you would never make a joke about?” and it’s a difficult one to answer. What constitutes a “subject” in this context? If you ask me whether I’d be willing to make a joke about paedophilia, I’d be forced to say yes, I would, and I have. If you ask me whether I’d be willing to make a joke about the little girl who was abducted by a paedophile yesterday, I’d say no. People are going to be offended by both of these jokes, but only one of them will involve the factors of specificity and timeliness that can turn an “offensive” joke into a “cruel” one. And significantly, only one of them has even the slightest chance of being funny. Even allowing for the extreme subjectivity of humour and the impossibility of determining in an absolute sense what is or isn’t funny, there are some jokes that, made at the wrong time, have no chance of succeeding with any but the most bizarre of sense of humour.

But leaving out the specific tragedies that defy humour entirely, I can’t say there is a subject which I would leave completely off-limits. Why should there be? It’s broadly accepted that other art forms should be able to tackle the most difficult of topics – the depraved side of human nature is a constant theme of the “serious drama”, and though the squeamish might avoid such depictions, few argue that a dramatist commits a sin just by addressing it. Why should comedy be any different? It’s just as valid an artform as drama, and can be just as powerful, if not more so, when done well. Comedy, like the other arts, is a means of exploring the universe we find ourselves in, and there’s no reason it should either hold itself to different standards than the other arts, or deny itself the possibility of exploring the full scope of human activity.

It’s also important to recognise that avoiding all possibility of offence is near-impossible. How can anyone be sure that a joke they make won’t upset someone in the audience? The potential for offence in jokes about racism and sexism is obvious, but you could make a joke about crashing your car, not knowing that a member of the audience had lost a family member in a car crash last month. You could make a joke about church not knowing that an audience member had been molested by a priest. You could make a joke about dogs and cats not knowing someone’s beloved pet had died that morning. If we rule out any subject that could conceivably upset someone, we rule out pretty much everything. Which illustrates a crucial point: “that offended me” is not the same thing as “that is offensive”. The former is a subjective statement that cannot be argued with. The second is an objective judgment that will always be damnably difficult to get consensus on.

That doesn’t mean comedians shouldn’t be careful in how they frame their material, of course. You’ve always got to consider the purpose of your joke, the audience, and who your target is; although sometimes, it’s wise to remember, a joke may not have a target at all. Just as a cigar is sometimes just a cigar, sometimes a joke is just a joke.

That’s the crux of the matter: comedians may have many aims: to provoke thought, to stir up anger, to raise important issues, or even to infuriate people. But the vast majority of them want, above all else, to make people laugh as hard and as long as possible. It may be an unfortunate part of the job that once you’ve made a joke, it’s out there, and you can’t control how people are going to take it. But the great comedy figures will risk that, will not be put off mentioning something just because someone might be offended.

In the end, everyone has a perfect right to take offence at anything, and I’ll defend that right, but nobody has a God-given right to go through life without being offended. Which means that if you want to stop me making the jokes I want to make, you better have a more substantial reason than “that’s offensive”. Otherwise, with the greatest respect, my answer will simply be, “So what?”




Source: http://www.wheelercentre.com/broadcasts/be...

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In COMEDY Tags BEN POBJIE, COMEDY, OFFENSIVENESS, OFFENCE, JOKES, BAD TASTE, OPINION, WHEELER CENTRE
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Norman Gunston: 'Is this an affront to the Constitution of this country?', Parliament House - 1975

November 11, 2015

at 1.02 in clip

11 November 1975, Parliament House, Canberra, Australia

Australia's elected PM, Gough Whitlam had just been dismissed by Governor General, John Kerr, and Malcolm Fraser made interim PM.

What I want to know, is this an affront to the Constitution of this country?

Yeeeees!

Or was it just a stroke of good luck for Mr Frasier?

Nooooo!

Thanks very much, just wondering.

 

Source: https://www.youtube.com/watch?v=K9hZ7kjgFh...

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In COMEDY Tags NORMAN GUNSTON, THE DISMISSAL, PARLIAMENT HOUSE, CANBERRA, GOUGH WHITLAM, MALCOLM FRASER, COMEDY
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Lenny Henry: 'I could only have got here by standing on the shoulders of giants', MOBO Awards - 2015

November 9, 2015

4 November, 2015, MOBO Awards, First Direct Arena, Leeds, United Kingdom

Hello, whassup Leeds!

Thank you so much. Thank you MOBOs, music of black origin, an award ceremony just for black music. I feel like Ed Shearhan standing up here.

Listen, I could only have got here by standing on the shoulders of giants, and I’d like to give a shout out to some of these giants now ...

[list of names]


 

Source: https://www.youtube.com/watch?v=e47iVbddPv...

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In COMEDY Tags LENNY HENRY, LIST OF NAMES, COMEDY, COMEDIAN, MOBO AWARDS, MUSIC OF BLACK ORIGIN, ACCEPTANCE, AWARDS
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Norman Gunston (Garry McDonald): 'it's not just you up there on the screen, there are many other people behind the scenes that you have to carry as well', Logies - 1976

October 28, 2015

Video from 1.57

12 March 1976, Southern Cross Hotel, Melbourne, Australia

[wild applause]

All the big producers sucking up to me.

it's funny, I had a sort of inkling that this would happen ... y'knnnow, because, y'know ... the ABC sacked me and I figured 'I must be getting the Gold Logie'.

I have written a short speech on it, if you wouldn't mind listening to me for a minute, because we'll be having a comprehension test later on ...

[read] [Breaks down crying] Oh fair dinkum ... fair dinkum ... that's all I had time to write actually .... no no ... when you do do an excellent program like mine, it's not just you up there on the screen, there are many other people behind the scenes that you have to carry as well.

Um, there are so many people that I'd like to mention, but I usually forget their names, and most of them will probably sink without a trace anyway. So ... I ... I would like ...  I would like to thank my mother, for not having the operation, even though dad had said that Mrs Manning had done hundreds of them, and her caravan was terribly hygienic, and also my land lady, Mrs Lewis, for not putting up my rent, even though she knew she could get thirty dollars a week from a refo family, y'know, and that was before they had on apart pension on the means test - wonderful woman. Everyone else had been real poons and wouldn't give me the seam of their cordial, yknow.

One thing, if you wouldn't mind, Bert, excuse me, Mr Newton, if you could, if you could just slip the head into the noose, [slips Logie into neck noose as visible necklace] ... this is just until I get it set into a ring ...

[cries] I'm sorry about crying like this, y'know, it's impregnated with shell tox. And it gives off fly killing vapours for the whole of the award winning year, and they're so strong, y'know [fans face] actually when I'm not wearing it I'll probably slip it around the dogs neck, y'know, and kill the fleas.

Source: https://www.youtube.com/watch?v=Xt0xgVvdrJ...

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In FILM & TV Tags NORMAN GUNSTON, GARRY MCDONALD, CHARACTER, COMEDY, LOGIES, TV WEEK LOGIE AWARDS
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Patton Oswalt: 'This was kinda a rough year, for a lot of reasons, but I had pretty much given up doing standup', Cringe Humor Best Comedy Album - 2007

October 27, 2015

16 December 2007, Foxwoods Resort Casino, Ledyard Connecticut, USA (pre record LA)

Hi Cringe Humour. This is Patton Oswalt, and I wanted to say sorry that I couldn’t be there for the awards ceremony tonight,  but I had to let you guys know , how flattering it is, truly flattering, that you chose my album, Werewolves and Lollipops, as best comedy album of the year, especially, you know you’re a New York based website, the New York comedy scene is really strong and amazing, so it’s just that much more special to me -- that you chose me, an LA based comic. It really means a lot. And it really blew me away when you guys let me know.

I don’t mind admitting to you guys that this was, this was kinda a rough year, for a lot of reasons that I won’t go into, but I had pretty much given up doing standup, for the last few months, and this award really reminded me that I think, that standup is what I should be doing, and it really gave me the confidence back.

Sp tonight you’re seeing -- just before --- I do my last ever last ever silver boy fantasy dance routine for visiting Saudi Arabian businessmen here in Los Angeles.

[off camera] Hey Flabby, start your dance now!

Right so I gotta ... um [picks up drink] You know what, I don’t need this tonight. Thanks Cringe Humour.

[Strides out]

[under breath] Alright Ahmed.

Source: http://flavorwire.com/226488/10-hilarious-...

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In COMEDY Tags PATTON OSWALT, COMEDY, COMEDY AWARDS, CRINGE HUMOR AWARDS, PRE RECORDED ACCEPTANCE SPEECH, FUNNY, COSTUME
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Melissa McCarthy: 'Holy smokes!' Emmy awards - 2011

October 26, 2015

18 September, 2011, Nokia Theatre, LA, USA

Holy Smokes! Wow! It's my first and best pageant ever! Oh my God - there's so many pe- stop that clock! - Uh, there's so many people I want to thank. Oh my God my sweet, lovely husband Ben; I wish you were here; he's not. My lovely sister Margie is here. I'm sorry I'm a crier!

My Mom and Dad who supported me forever and shouldn't have and just said 'keep doing what you're doing.' I'm from Plainville, Illinois and I'm standing here and it's kind of amazing.

I work with the best cast and the best crew and I love them all. And Chuck Laurie fought for me. And Peter Roth you are like a handsome cheerleader in a suit. Nina Tassler, Les Moonves I'm gonna carry you both around tonight for a while.

Um, oh my God our writers - Mark Roberts - writing your beautiful little funny weird plays for us, and the cast I love you all so much. I go to work - I show up early like a dork, everyday because I kinda can't wait to see people. Vivi you can go to bed now. Georgie, I love you. And, oh God I know I'm forgetting somebody, I don't have my list. Anybody I forgot I just want to say thank you. Holy smokes!

 

Source: http://www.sweetspeeches.com/s/2349-meliss...

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In FILM & TV Tags MELISSA MCCARTHY, EMMY, BEST ACTRESS, COMEDY, MIKE AND MOLLY
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Steve Carell: 'I didn't write anything. However, my wife did and handed me something. Um... ', Best Actor, Golden Globes - 2006

October 26, 2015

16 January, 2006, California, USA

Wow, I, uh, I really did not expect this so I didn't write anything. However, my wife did and handed me something. Um, I'd like to thank the Hollywood Foreign Press for this great honor. I would also like to thank my wife, Nancy, for her constant support and for being so beautiful tonight. That's true. Thanks also to Ricky Gervais and Steven Merchant for creating such a wonderful, ground breaking piece of television and to Greg Daniels for his talent, courage, and sheer audacity. This is good, thank you. Uh, also to my wife, for giving me two wonderful children as painful as her labor might have been. Thanks also to an excellent cast, crew, and writing staff all of whom I am indebted to. If were not for you, I would not be here right now. I don't know about that. Steve Sower, Michelle Bowen, Matt Labog, Holly Berell...Nancy, my precious wife, who put her career on hold in support of mine and who sometimes wishes that I would let her know when I am going to be home late so she can schedule her life which is no less important than mine. To my parents for not making me go to law school. And finally to the love of my life, my wife Nancy. Thank you very much. This is a very great honor.

Source: http://kydem.blogspot.com.au/2006/01/bonus...

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In FILM & TV Tags STEVE CARELL, GOLDEN GLOBES, THE OFFICE, BEST ACTOR, COMEDY, NANCY WALLS
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Barry Humphries: 'Through the thin end of an asparagus roll', National Press Club - 1978

September 3, 2015

27 April, 1978, National Press Club, Canberra, Australia

I think it surprises members of the public to learn that stage performers, stage artistes and vaudeville personages like myself do suffer from stage-fright. But I always do. Quite often in fact I'm physically ill before any public appearance. There's usually a plastic bucket in the wings when I do my stage shows. But I thought a few years ago that my trade is not really that of a one-man performer, because the expectant countenances of my audience are very often illuminated into the dress circle. And so really I perform with a very large cast. And it crossed my mind some time ago to invite members of the audience to participate in the show. This sometimes leads to problems as it did in New York not long ago, when a woman sitting in the second row said that she was unable to hear Dame Edna because of the laughter of two 'pansies', as she described them, sitting next to her. So I rashly asked her if she thought she could hear better if she came up on stage. To my alarm she did. (Laughter.) This is five minutes into the show and she was there till the end. She also brought her knitting. I need hardly tell you that this altered the entire course of the occasion. I asked her her name and she said it was Lucy so we called it the Lucy Show after that.

At the moment I'm engaged in writing a new starring vehicle for myself and friends and I open in Sydney next month. And it's usually my practice, being a professional procrastinator amongst other things, to commence writing the show as soon as the first ticket has been bought. It entertains me to think that there's some poor character actually paying for something that doesn't exist. In Melbourne I used to like sitting in a little Greek restaurant called the Cafe Florentino. At about ten past eight in the evening. And seeing old Melbourne Grammar boys, contemporaries perhaps of our Prime Minister, hurrying with their wives down the stairs in order to attend one of my performances which I had absolutely no intention of starting for another three-quarters of an hour.

The advantage of course of being a solo entertainer is that they can never start without you. And I think that that is probably one of the few advantages. Except of course that it keeps me off the streets and fills my evenings entertainingly. As I hope it will yours. Difficult, looking at those scrawled envelopes, those comparatively blank sheets of foolscap paper and wondering if the thought that crossed one's mind on a tram is likely to divert an assembly of people. But I've always found that people generally come to the theatre as they do to an occasion like this with an immense store of goodwill, which it's very hard to exhaust. And after all it cost them a lot more to come to the show than just the ticket. They have to get babysitters. They have to take out extra fire insurance on their houses.


I always find too that an audience laughs much louder if they're extremely anxious. And therefore I think at the beginning of my new show I'll remind them of all the terrible things that could be happening at home. Was the kitchen window really firmly locked? What kind of cigarettes was the babysitter smoking? How many friends is she at present entertaining? All of these things, I think, should put them in a very good mood. . . a very receptive mood. I'm going to have a lot of bleepers concealed under the seats so that doctors will be leaving regularly throughout the evening. Hurrying off to save imaginary lives.


I have had people die during my shows, unfortunately. I was informed that a man had fallen gravely ill during my last performance some four years ago in Sydney. And as I left the theatre I noticed some screens had been erected in the foyer. Until the ambulance arrived. But the usherettes were shaking their heads and alas—the customer had caught the ferry as they say. But it pleased me to see a seraphic smile upon his ashen lips, and in his pale grasp was still clenched a wilting gladioli.


A lot of Australians attempt, when abroad, to evoke agreeable memories of their homeland. Some burn gumleaves. I thought I'd perhaps call the first volume of my autobiography, Some Burn Gumleaves. My first thoughts were to call it . . . well I like titles like Silverfish in the Bath or Snails in the Letterbox. If you come from Melbourne you know about snails in the letterbox. And I'm essentially, you see, a Melbourne artiste. It was kind of you to say, not in so many words of course, Mr President, that I belong to the universe, was it, or the galaxy? I can't remember your exact words. But I would insist that I'm basically a regional monologist. Just as I suppose Dorset belongs to Thomas Hardy, Dublin to James Joyce, Hull to Philip Larkin, Canberra to Manning Clark.. . I suppose the Mornington Peninsula belongs to me. Moonee Ponds wherever she may wander still belongs, I think, to Dame Edna Everidge. And so I still look at the world rather through those dusty venetians, through those crossover terylene drapes. Still peer at those things which peculiarly amuse me through the thin end of an asparagus roll. A uniquely Australian invention I would point out. The asparagus roll is not to be found anywhere else in the world. It's not a problem to open a tin of asparagus, it's not a problem to cut brown bread thin enough or butter one side of it thinly. The problem is to stick it up. The punk asparagus roll will soon be with us, no doubt, secured with a suitably sterilised safety pin.


The other great Australian inventions of course are the terylene golfing hat, the lamington and the Hill's hoist. I can't think of any more. Perhaps the vanilla slice. I remember once asking the
Australian painter, Sir Sidney Nolan, what he missed most about Australia when he was away—and he said it was the way the icing on a vanilla slice stuck to his thumb. I suppose the second volume then of my autobiography will be called The Way It Sticks to Your Thumb though that may well evoke memories of Ms Shere Hite. Or I might call it something rather
grandiose, like The Restless Years.

But some Australians burn gumleaves. Others like to remember the old advertisements on
commercial radio. The old wireless programmes like The Koolmint Theatre of the Air. The old days when one perhaps listened to the ABC for entertainment. (Laughter.) We evoke nostalgia in many different ways. Inducing such maladies as Persephone's Neck. I introduced that for the scholars in our midst, and I'm relieved to find there are none. Or the Lot's Wife syndrome. When glancing back at Australia you turn into a pillar of bauxite.

I always like of course to write the reviews first. In New York I provided typewriters in the foyer for this purpose. To save them rushing to their newspaper offices they could always type the notices then and there, and come back and enjoy the show in a relaxed frame of mind. I also had a very large map which a lot of people took quite seriously. Like most of us I was a little indignant when some apparently sophisticated person thought that Fiji was the capital of Australia. And I had a very large map in the foyer of Australia showing the entire Americas fitting into Gippsland. And there was a big caption which said something like, 'For Your Information, Actual Scale Map, America in Relation to the Australias'. Quite a few people were very impressed by that. Rightly so. It took a lot of painting.

But the object is rather a callow one I suppose, to preempt adverse criticism since who isn't a little susceptible to it. I've always liked to give my shows rather self-deprecating titles so that perhaps a journalist who would have been thinking of starting his review with 'It's rather pathetic at his age' would have to think again and say, 'Well if I said that I'd be agreeing with him really wouldn't I if my previous show was called At Least You Can Say You've Seen It. And most of these show titles were all invented by my aunt. Who is still with us I'm happy to say. Whenever she went to a Williamson show—and it wasn't David in those days, it was JC—she used to come home and say. . .You know, we only went to the theatre in those days on wedding anniversaries. Now we go on Mother's Day as well as wedding anniversaries. But she used to always say something like... 'What did you think of it?' I'd say and she'd say, 'Well, Barry, at least I can say I've seen it.' She'd say, 'Oh it was just a show.' But more often than not she used to say, 'Isn't it pathetic at his age?', 'You know, he used to be wonderful in The Desert Song' 'Why do they still do it?' I mean, that my aunt can say to me, 'Why do they still do it?' as I'm simultaneously borrowing five dollars from her, I don't know.


But when I came back to Australia, as I always do, again I saw those banners outside newsagents which I like to collect. I'm the person who goes around late at night stealing banners from outside newsagents. If you don't know what a banner is it's one of those things printed in very bold type which are put in little cages which look at us through little wire grilles outside milk bars and newsagents all over Australia. The first one I saw I was tempted to steal in broad daylight. It's the first time I've ever done it. I'm going to hold it up just to show you. It says, 'Killer Spiders, What To Do'. Well we all know what to do. Scream and die painfully.
Without any further ado therefore I feel I should throw the meeting open to questions. I, as I say, will not flinch from the most intimate. I am in the land of total disclosure. Nothing is a secret. It's a country where the venetian blinds lock in the open position. Did not a former Prime Minister, a former speaker at this very table, speak of his wife, his lofty spouse as being good for bed and board? To the astonishment of the more prudish and more decorous amongst us. More recently, I understand, when the Honourable Mr Whitlam was asked to what he and his wife attributed their sexual compatibility he replied, 'Not Masters and Johnson, sheer Hite.' I was saving that one for the show but this is a preview. It must go no further.

Tony Thomas, The Age: Now that you're back here, Barry, I can see why the Government has just reintroduced export incentives. I've long been an admirer of your work and the question I've got to ask is slightly personal. Are you heterosexual like us, homosexual, transsexual, bisexual, trisexual or multisexual, pro-sexual, anti-sexual or married?
Mr Humphries: I think I'm infra-sexual.
Bruce Juddery: Is it true, sir, that you were approached while you were in Melbourne by Mr
Bjelke-Petersen to work for him and several other Tory politicians, counterparts to Mr Whitlam?
And if you weren't, were you disappointed?

Mr Humphries: No, I'm glad that you said that because I think people were enjoying themselves a little too much. (Laughter.) It was either you or a fault in the sprinkler system. If I may obliquely reply to your question, there have alas been all too few official approaches made to me. I had hoped that I might get the Paris job. Dame Edna wanted to seize it but she couldn't get past the antique furniture in the doorway. I don't see any reason why artistes or sort of oddities shouldn't have diplomatic posts at any rate. There are many precedents. Lord Byron, Shirley Temple. . . I once said to Gough Whitlam that I'd rather like the Lisbon job since there wouldn't be a great deal to do except to see that the sardines got all put in the right way around. When I was last in. the Portuguese capital I'd forgotten my driver's licence . . . an interesting, heavily endorsed document that it is. (Laughter.) And the Portuguese Avis girl . . . sounds rather Portuguese, 'Avis', doesn't it? The Portuguese Avis girl refused to give me a car. I felt a tap on the shoulder and I turned round and there was 'our man' in Lisbon. He said, 'Anything we can do for you, Brian?' I was pleased to hear that he wasn't going to address me in Portuguese. I said I was having a bit of trouble and I was secretly very flattered indeed that news of my arrival had been telexed straight through to the embassy and there was indeed a man with a finely crafted white vinyl belt, ensign tie and platform shoes waiting for me. I said, 'Well. I have this slight problem. But first I must say that it's very, very nice of you,' and he said, 'Oh just a minute, Barry, just a minute. Oh morning, Mr Halfpenny, we thought you might have been on the next plane.' So it seemed it wasn't I that they were coming to meet after all, but some leather-jacketed troubleshooter from the trade union movement. I'd very much like to be our man in Lisbon. Whether I could handle Brisbane or not I'm not quite sure. Though I am a great admirer of the Brisbane leader. In a political scene so devoid of personalities it's rather nice to find one.


One of the things that interests me by the way is that you are soon to have a revolving restaurant. As you know I have an eye for these things. People say, 'Oh, you know, you're quick, you've only been here half an hour and you know we're going to have a revolving restaurant.' Well it has to be. It isn't a great town unless you have somewhere where you have to go up a long way to get a red Kleenex to wipe the garlic prawns off your tie. Meat served on a piece of wood with a flag in it saying, 'Medium rare'. And waiters staggering dizzily out of the central service core. . . laden with food to tables which didn't order it. . . where something goes wrong with the speed, where sometimes the motor goes berserk and hurls the diners miles into the surrounding landscape.


Australian cities are always doing ludicrous things to themselves in order to make themselves
internationally interesting. Melbourne as you know wrecked itself in the 1950s preparing itself for Olympic visitors. All the cast-iron verandahs were torn down because it was felt that Latvian shotputters might think it was a country town. How they kept copies of The Sun News-Pictorial from them goodness only knows. Of course when Nicholas Pevsner, the eminent architect, visited Melbourne and the architects were racing him off in their cars to see their little boxes that they had constructed in the suburbs, all Pevsner was interested in were the few remaining cast iron verandahs in Carlton and Fitzroy. It was thought vaguely that some of these places which had been given too cheaply to the Greeks might still have some architectural value. As we know now they're inhabited almost solely by architects, advertising people and raving poofters ... of impeccable taste. But still the despoliation continues. The entire Yarra Valley has been ruined. There's a sort of committee now for historical buildings. Once they've decided to pull something down, they've always rebuilt it and they're already collecting the rent on the new building but they have a little tribunal just to show
that they're quite prepared to listen to arguments for something or other. Melbourne Comedy
Theatre which I'm going to be performing in in a couple of months is up for auction. I hope that it's still there when I'm there and I won't have to do my performance from the top of a car. But, you know, it is to me a decadent community in which a theatre needs to be defended. That one should actually have to stand up and say, 'Well, you know, I would submit that a theatre is quite important.' There seems to be something a bit wrong there. In Sydney however a revolving restaurant is being built and people can revolve up there.

Melbourne alas hasn't any such thing. But we have a city square and I'm afraid I have led you into a small trap. I hope that you'll forgive me. On the pretext of course of addressing you in a learned fashion I really wish to make a press statement. Many of you know that I'm soon to retire from the theatre. Driven by public opinion. Most of you know of course that my ambition in life is to become a society photographer. In Australia I should have no work whatsoever. When my children asked me recently what was the definition of a contradiction in terms I said, 'A Sydney socialite.' But town planning is my major interest. I've been secretly going to Monash University doing a little course in town planning with all the housewives. And I've always felt, you know, that I'd rather be in a good building or.. . really I would rather be in a building designed by a bad architect and a good accountant. Too many buildings seem to be
designed by accountants.

I've been working on a scheme for the Melbourne city square. I've gone to a bit of trouble over this. Now you'll all appreciate it, it's nice to know that your speaker has gone to a bit of trouble. There was a block in Melbourne on the corner of Collins and Swanston Streets which had some quite nice old buildings on it. So nice indeed they had to come down because someone thought, 'Wouldn't it be nice if we had a civic square.' I think probably they were thinking, 'Wouldn't it be nice if I had a knighthood and you had a civic square.' (Laughter and applause.) Mind you, do you notice that I've got this Silver Jubilee tie for my services to the Queen? This is the Silver Jubilee polyester, woven at the Palace. No gong yet though I know there are plenty of people working hard for them. I'm not going to name names. I could be referring to any Tom or Dick or even Harry. The thing is. . . ladies and gentlemen, I have a scheme for this plot of ground, which is much ploughed up. No one knows quite what to do with it. They're thinking of putting a vast television screen there so the latest footie results can be shown there. Of great interest I'm sure to the people of Melbourne in the middle of summer. But it seems to me that the thing that is going to put Melbourne on the map is not a tower, not a revolving restaurant, no pinnacle—but a pit.

Think of it for a moment. A gigantic excavation is what I recommend for my home town. In short, an abyss. Then Melbourne can be truthfully called the abysmal city. Think for a moment of the famous holes which attract tourists. The Black Hole of Calcutta attracted a few. The Grand Canyon is nothing else but a hole. It brings in enormous revenue to those who, I presume, have the box office. However, my plans for the abyss are well and truly under way and I can now unveil them for the first time in Australia at this meeting. I have copies which will be handed around . . . the original artwork, for the paper courageous enough to run it on the front page tomorrow. I've got a few of them here. This is an architect's drawing made by my friend, Mr Charles Billitch, my partner in Humphries, Billitch and. . . Associates. The spire is St Paul's Cathedral. The distant Byzantine building is the surviving Flinders Street Railway Station. The small area on the corner of Collins and Swanston Streets marked Number Ten is the protestors' precinct. The wall of the salvaged Regent Theatre has been rusticated. That is, it has been covered with a fibre-glass surface so it resembles a cliff face over which coloured water pours. Fifteen . . . yes, that is the Regent Falls. Six, rock climbing is possible up that wall. Number One is the abyss. Now this is a hole of incalculable depth. It ought to be about three centimetres deeper than the World Trade Centre is tall—making it the deepest abyss in any city centre, undoubtedly. Now the road can be diverted into the abyss to accommodate the next Moomba procession. There is a cave at the foot of the falls in which, appropriately enough, is a caveteria. Rock groups can perform on the top of the rockery. And there is a lift taking people down to the revolving restaurant in the bottom of the abyss. Now from the windows of the revolving restaurant of course, cheerful diners will be able to discern little else but glow worms and slime. We have as yet to devise a method of bringing them up again. The garlic prawns should see to that. On the side of the Abyss is the Abyss Mall. Perhaps there is a radio station called the Abyssee. Now it's the Town Hole as seen from the Town Hall.

I only have a few copies—it's an exclusive, it's classified and if it isn't run in any of the papers I've wasted my time haven't I? But one of the most important aspects of this abyss is that it offers an opportunity for people to destroy themselves. As you know Melbourne has many incentives for suicide but few opportunities. It's difficult to get to the tops of a lot of the tall buildings. I know I'm speaking in a city where the suicide rate is the highest in Australia. How do you do it? Go out and stab yourself with a gum tree? Ecological suicide. However there is a special jump for suicides here which would be floodlit at night and televised by the ABC who have, as you know, very little else to do. So I leave this with you, ladies and gentlemen. It actually is rather funny, don't you think?
 

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Tony Martin: 'City of Bongs, and Football, and Scratchy Tickets', State Library of Victoria debate - 2009

August 11, 2015

17 October, 2009, State Library of Victoria, Melbourne

Tony Martin and Catherine Deveney argued for bogans in this ‘comedy debate’. Jane Clifton and Tony Wilson represented the ‘books’.

If you’re anything like me, you’re running a temperature of about 112 and are on so much prescription medication, you’re not really sure where you are. This could be the State Library, or it could be the opening scene of David Cronenberg’s Scanners.

Obviously, if it is the latter, the front three rows might like to move back a tad. Because you will get splattered with cranial matter. On the upside, the debate will be forfeited and you can all piss off early to the pub. Or to Borders, to see if they’ve got the new Jonathan Franzen. Because you’re book nerds, aren’t you? I can feel you, looking up at me, thinking, ‘There is no new Jonathan Franzen, what the hell are you talking about?’

Oh yeah, I know what you people are like. Because, if you are anything like me, you know what it’s like to feel your heart racing as you approach the specials table at Readings and pick up what looks to be a US import hardcover edition of Alice Munro’s Runaway – feel the deckled edges – it’s a Knopf original! – fumble for the imprint page, is it? Yes, it is! It’s a first edition, for $12.95 – that’s half the price of the local paperback!

If you’re like me, you’re buying all three local papers on a Saturday and going straight for the ‘Books’ sections. Noting the new, smaller-format ‘Review’ section in The Weekend Australian, turning to your partner and saying, ‘Is it just me, or are there just twelve pages of book reviews where there used to be sixteen?’

If you’re like me, you’re losing sleep over the imminent arrival of these newfangled Kindle machines. I mean, are they any good? Are they really going to replace books? Are people really going to want to read Nicholas Nickleby off a calculator? I mean, didn’t anybody read that essay by Adam Gopnik in The New Yorker?

If you’re like me, you’re tossing and turning about the selection of extracts in that new Macquarie PEN Anthology of Australian Literature – I mean, have they included enough indigenous writers? What does Clive James think? Has Peter Craven weighed in? Is it really worth getting up and going to work today? Is it too early to call [NAME CENSORED] and was that book really about him and [NAME CENSORED] doing it every which way? I need to know, I have to know, because I live in a City of Literature!

Except I don’t.

Because that person I’ve just described is me, it may be you…and about 2400 other people. Nobody else could give a shit!

Face it, we’re living in Boganville.

Now, I’m not having a latté-fuelled sneer. I myself hail from one of the bogan capitals of New Zealand. In my suburb, we had one of those Video Ezys where all the parking spaces are named after movie stars, but ours – and I swear this is true – had not one, but two spaces labelled ‘Patrick Swayze’. None for Daniel Day-Lewis, two for Patrick Swayze. That’s when you know you’re living in a centre of bogan activity and endeavour.

And that’s where we’re living, here in Melbourne.

Because you could offer the average person in Melbourne all the books in Readings and Borders and Hill of Content – you could say, ‘Right, you can have a look at all of them – or – you can have a look at the new “Stars Without Make-up” issue of New Weekly.’ Which one do you think they’d go for?

Margaret Atwood, fuck off! I want to see Posh Spice getting out of a car, with no pants on.

I remember that when this ‘City of Literature’ nonsense was announced, there was a picture in the paper of a handsome young man with a mane of hair like Michael Chabon’s, and a wayward scarf, sitting atop a knoll in Federation Square, paging thoughtfully through a copy of Patrick White’s Voss.

Now, my guess is, moments after that photo was taken, he had the shit kicked out of him by five bogans, fresh off the Frankston line en route to Hungry Jack’s. That man would have been picking Voss out of his teeth for weeks, and the mobile phone footage would’ve racked up a million hits by the time the ambulance arrived.

Because this is not a City of Books – it’s a City of Bongs, and Football, and Scratchy Tickets, and Internet Porn, and Buying an Illegal Copy of Underbelly Out of Somebody’s Boot in the Car Park of the Dingley Powerhouse.

Oh, sure, it’s a city of some books, but what was the biggest selling book of last year? Was it by Tim Winton? Geraldine Brooks? Peter Carey? No, it was a book about how to remove stains from fabric. How to remove the remnants of a Bacardi Breezer from your best pair of trackypants.

If we were to stage a genuine Melbourne Writers Festival, the big ticket event would be Geoffrey Rush reading mellifluous extracts from the stain-removal book – or the second most popular book of the year – How to Make a Meal Using Only Three Ingredients: VB, hate and Sam Newman’s ballsack.

People in Melbourne don’t want to read books. They want to read about who’s banging Lara Bingle. The only literature they’re really interested in is the literature on the counter at JB Hi-Fi that tells them how much they’ll pay for an even bigger telly, so they can watch Kyle Sandilands making an even bigger cock of himself, just before they slump into unconsciousness, awaking only to buzz in the bloke from Pizza Hut.

If this weren’t the case, that TV show where everyone pretends to have read the new one by Roberto Bolano wouldn’t be hidden away late on Tuesday night on the ABC. It’d be on Channel Nine in prime time, hosted by Daryl Somers and five medical students in blackface.

If this weren’t the case, the ‘literary’ section at your local shopping centre Dymocks wouldn’t be almost entirely filled with books about Mr Darcy, none of which were written by Jane Austen, like Mr Darcy Takes a Wife, The Secret Diaries of Mr Darcy and How To Remove Stains From Mr Darcy’s Incredibly Fulsome Pants.

If this weren’t the case, then A S Byatt would’ve outsold The AFL Diet.

True story: A couple of years ago, I’m in Readings in St Kilda – when it used to be Cosmos – browsing foppishly on a quiet Saturday afternoon – because it’s always quiet in a bookshop – and there’s this couple, swathed in football-related clothing, each with a baby in a pouch on their front, and the woman has suddenly shouted – loudly, shockingly – across the shop to the bloke:

‘Damian, come over here! I have found a book that is better than The Da Vinci Code!’

He’s come shuffling over, going, ‘Bullshit! There is no book – no book – that is better than The Da Vinci Code!’

And she’s said, ‘Well, look at this – The Illustrated Da Vinci Code!’

And he’s looked at it, for five minutes, just turning it over in his hands, going, ‘Fuck me, this is better…cos they’ve done pictures of everything.’

Those are the people who should’ve been in that picture in the paper for ‘Melbourne: City of Literature’.

Melbourne: City of Bogans. Who occasionally read a book – about stains, about diets, about conspiracy theories, about people who were in Underbelly.

They don’t want to read about the dashed hopes of a godless society at the end of an era of greed and excess and moral ambiguity. They want to read about Brendan Fevola, throwing up in an ashtray at Crown Casino.

And you know what? So do I.

This piece and many other hilarious offerings on sale in 'Scarcely Relevant' for just $6 at http://tonymartinthings.com/

Source: http://tonymartinthings.com/

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for James Baldwin: 'Jimmy. You crowned us', by Toni Morrison - 1988
for James Baldwin: 'Jimmy. You crowned us', by Toni Morrison - 1988
for Michael Gordon: '13 days ago my Dad’s big, beautiful, generous heart suddenly stopped beating', by Scott and Sarah Gordon - 2018
for Michael Gordon: '13 days ago my Dad’s big, beautiful, generous heart suddenly stopped beating', by Scott and Sarah Gordon - 2018

Featured commencement

Featured
Tara Westover: 'Your avatar isn't real, it isn't terribly far from a lie', The Un-Instagrammable Self, Northeastern University - 2019
Tara Westover: 'Your avatar isn't real, it isn't terribly far from a lie', The Un-Instagrammable Self, Northeastern University - 2019
Tim Minchin: 'Being an artist requires massive reserves of self-belief', WAAPA - 2019
Tim Minchin: 'Being an artist requires massive reserves of self-belief', WAAPA - 2019
Atul Gawande: 'Curiosity and What Equality Really Means', UCLA Medical School - 2018
Atul Gawande: 'Curiosity and What Equality Really Means', UCLA Medical School - 2018
Abby Wambach: 'We are the wolves', Barnard College - 2018
Abby Wambach: 'We are the wolves', Barnard College - 2018
Eric Idle: 'America is 300 million people all walking in the same direction, singing 'I Did It My Way'', Whitman College - 2013
Eric Idle: 'America is 300 million people all walking in the same direction, singing 'I Did It My Way'', Whitman College - 2013
Shirley Chisholm: ;America has gone to sleep', Greenfield High School - 1983
Shirley Chisholm: ;America has gone to sleep', Greenfield High School - 1983

Featured sport

Featured
Joe Marler: 'Get back on the horse', Harlequins v Bath pre game interview - 2019
Joe Marler: 'Get back on the horse', Harlequins v Bath pre game interview - 2019
Ray Lewis : 'The greatest pain of my life is the reason I'm standing here today', 52 Cards -
Ray Lewis : 'The greatest pain of my life is the reason I'm standing here today', 52 Cards -
Mel Jones: 'If she was Bradman on the field, she was definitely Keith Miller off the field', Betty Wilson's induction into Australian Cricket Hall of Fame - 2017
Mel Jones: 'If she was Bradman on the field, she was definitely Keith Miller off the field', Betty Wilson's induction into Australian Cricket Hall of Fame - 2017
Jeff Thomson: 'It’s all those people that help you as kids', Hall of Fame - 2016
Jeff Thomson: 'It’s all those people that help you as kids', Hall of Fame - 2016

Fresh Tweets


Featured weddings

Featured
Dan Angelucci: 'The Best (Best Man) Speech of all time', for Don and Katherine - 2019
Dan Angelucci: 'The Best (Best Man) Speech of all time', for Don and Katherine - 2019
Hallerman Sisters: 'Oh sister now we have to let you gooooo!' for Caitlin & Johnny - 2015
Hallerman Sisters: 'Oh sister now we have to let you gooooo!' for Caitlin & Johnny - 2015
Korey Soderman (via Kyle): 'All our lives I have used my voice to help Korey express his thoughts, so today, like always, I will be my brother’s voice' for Kyle and Jess - 2014
Korey Soderman (via Kyle): 'All our lives I have used my voice to help Korey express his thoughts, so today, like always, I will be my brother’s voice' for Kyle and Jess - 2014

Featured Arts

Featured
Bruce Springsteen: 'They're keepers of some of the most beautiful sonic architecture in rock and roll', Induction U2 into Rock Hall of Fame - 2005
Bruce Springsteen: 'They're keepers of some of the most beautiful sonic architecture in rock and roll', Induction U2 into Rock Hall of Fame - 2005
Olivia Colman: 'Done that bit. I think I have done that bit', BAFTA acceptance, Leading Actress - 2019
Olivia Colman: 'Done that bit. I think I have done that bit', BAFTA acceptance, Leading Actress - 2019
Axel Scheffler: 'The book wasn't called 'No Room on the Broom!', Illustrator of the Year, British Book Awards - 2018
Axel Scheffler: 'The book wasn't called 'No Room on the Broom!', Illustrator of the Year, British Book Awards - 2018
Tina Fey: 'Only in comedy is an obedient white girl from the suburbs a diversity candidate', Kennedy Center Mark Twain Award -  2010
Tina Fey: 'Only in comedy is an obedient white girl from the suburbs a diversity candidate', Kennedy Center Mark Twain Award - 2010

Featured Debates

Featured
Sacha Baron Cohen: 'Just think what Goebbels might have done with Facebook', Anti Defamation League Leadership Award - 2019
Sacha Baron Cohen: 'Just think what Goebbels might have done with Facebook', Anti Defamation League Leadership Award - 2019
Greta Thunberg: 'How dare you', UN Climate Action Summit - 2019
Greta Thunberg: 'How dare you', UN Climate Action Summit - 2019
Charlie Munger: 'The Psychology of Human Misjudgment', Harvard University - 1995
Charlie Munger: 'The Psychology of Human Misjudgment', Harvard University - 1995
Lawrence O'Donnell: 'The original sin of this country is that we invaders shot and murdered our way across the land killing every Native American that we could', The Last Word, 'Dakota' - 2016
Lawrence O'Donnell: 'The original sin of this country is that we invaders shot and murdered our way across the land killing every Native American that we could', The Last Word, 'Dakota' - 2016