Story by Andrew Collins
Photos by Tim Paton
So you want to be a rock 'n' roll star? Don't be so
stupid! Flog that guitar and learn some jokes instead. The '93 road
to sex, drugs, adulation and depravity is stand-up comedy Rob Newman
and Dave Baddiel rake in 300 grand a tour - each, Sean Hughes'
female fans crave an 'Inflatable Sean' sex doll. And Eddie Izzard
gets to wear women's clothes. Wahey!
So you want to be a rock 'n' roll star? Don't be so
stupid! Flog that guitar and learn some jokes instead. The '93 road
to sex, drugs, adulation and depravity is stand-up comedy Rob Newman
and Dave Baddiel rake in 300 grand a tour - each, Sean Hughes'
female fans crave an 'Inflatable Sean' sex doll. And Eddie Izzard
gets to wear women's clothes. Wahey!
"Do we give out home numbers?"
"Whose?"
"Dave's and Frank's"
"Who wants them?"
"Steve Coogan."
So Steve Coogan's on the blower, he's after phone numbers for
Dave Baddiel and Frank Skinner. This is Avalon, the management
promotions company that handles said emergent comedy superstars. The
question is - do they give out home numbers?
"We don't give out home numbers," states John Thoday,
Avalon's big cheese, officiously.
"But it's Steve Coogan. Surely it's OK to give them to Steve
Coogan?"
No, not even Steve Coogan.
It's Christmas and he probably wants to wish his stand-up mates a
merry one. But this is business. This is comedy.
How much do you earn? Rob Newman and David Baddiel made
£300,000 each last year admittedly from touring, which is a
grueling lifestyle even for stand-up comedians - but that's clear,
untouchable profit. The pair of them clocked up 75 gigs in 1992.
Four of these were Hammersmith Apollos; 30 of them were extra dates.
Between them, Rob and Dave grossed a cool million. Laugh? I nearly
retired.
If you're part of the ever-growing consensus that reckons music
is an ailing artform, no longer the stuff that threatens or affirms
life, no longer the stuff that dreams are made of, about as vital
and central to your week as Top Of The Pops, then comedy could be
your salvation.
The comedy industry is boom-booming. The frantic re-release of
vintage TV sitcoms on video and BBC's ever-expanding Radio Classics
cassette range are easy pointers to comedy's current bankability.
Newman and Baddiel's pre-Christmas History Today video has now moved
80,000 units, outsold in the specialist charts only by the latest
Billy Connolly compilation. Their two mammoth, sell-out offensives
had rock promoters drooling. Ned's Atomic Dustbin did a
comparatively bijou tour in November - it cost around £200,000
to put on, and, says manager Tank, the band "just about broke
even".
"With a rock 'n' roll band, you're paying the management 15
per cent, the agent 10 per cent to book the tour, and, on top of
that, 25 per cent to the promoter," reasons John Thoday.
"A band who are perceived as successful can be on tour with
£100 in their pocket each week because they're not really
making any money." Avalon act as promoter, agent and manager
for their vast armoury of acts. When you think that Rob and Dave's
merchandise was taking more than £3,000 a night on the autumn
leg, while none of the major T-shirt companies would even touch
their spring tour, the wind changes are pretty clear. Thoday's desk
now contains six letters from would-be, wised-up merchandisers.
So, ten years down the line from the punk-style revolution of
"Alternative" comedy and its rarefied, defiantly left-wing
charm, and the whole game's blown wide open. The have-a-go ethic has
been married to the very real possibility of sex, drugs and
on-the-road kicks, not to mention fame, fame, fatal fame. Is it not
now entirely possible that the starstruck teenager will be picking
up the hairbrush and pretending in the bedroom mirror to be a
standup comedian?
Who wouldn't want to be Sean Hughes? They call him "The
Morrissey Comic", as if Morrissey wasn't comic enough on his
own. But Sean cuts a far less flamboyant, vaudevillian,
devil-may-care figure in the world of comedy.
On the two successful theatre tours he conducted following
Channel Four's Sean's Show in 1992, Sean made a point of selling
T-shirts at significantly reduced prices - £8 rather than the
standard £15 - which, when you consider he shifted more than
4,000 on the latter hop, is a dramatic self-inflicted profit drop.
He also bought a load of his own videos at cost (£7.50) then
flogged them for a tenner each, £3 cheaper than the shops,
again doing himself out of easy money.
"Oh, I could make an absolute packet," he says,
"but I'm not into taking money off people for the sake of
it."
He turned down the knee-jerk Christmas book deal last year,
holding out for the possibility of putting out a volume of his own
poetry in '93 (which now looks likely). And, had it not been for his
high principles, Birds Eye French-bread pizzas might now have been
inextricably linked to Sean's puppydog face. He even cut off his
nose to spite The Face, by refusing to supply the magazine with a
list of his ten favourite songs. "I don't do lists," he
insists.
Sean's got bigger things on his mind, like the fact that he
spotted five Jehovahkill T-shirts in the front row of one of his
recent shows. He's uncomfortable with the Rob Newman-style teenybop
audience, and is considering playing over-18 venues in favour of
"a more mature audience. I know there are a lot of intelligent
16 year-olds out there, but I don't want them coming because they
think I've got a nice arse. I'm not interested in that."
Later, in the Crouch End Abbey National, a flustered mum
approaches Sean to sign the back of a paying-in slip for her
nine-year-old daughter, Mary. Sean blushes.
"I know that the people who like me absolutely adore
me," Sean gamely admits
You could, presumably, have endless sex then?
'That's one of the reasons I don't like going to parties -
because you do end up getting drunk and horny. I fall in love very
quickly, and then realise that it's not love and I hurt people, but
not on purpose. I wouldn't take advantage in that sense, but there
are moments when, if someone wants to shag me and I want to shag
them, I don't think I'm doing any harm to anyone really."
The Morrissey comparison rears its ugly head again here, because
a lot of today's (male) youth comedians set themselves up as lonely,
unexploded hormone bombs. "Here's a good one - I REALLY
DESPERATELY NEED A SHAG! Geddit?" Sean's archetypal line
"Has anyone ever got that lonely that you pick up the telephone
to see if it's working?" is, first and foremost, a brilliant
and sincere life observation. It's also an invitation.
"Rob Newman is a very pretty person, so girls are bound to
throw themselves at him," observes Eddie Izzard, the undisputed
king of live comedy. The Back To The Planet of stand-up, he has
built a huge following without doing any telly, and now commands a
lot of negotiating power.
"But I haven't got the screaming teenagers, which is great.
Some people obviously indulge in the groupie thing - Hey, let's get
shagged! But is it empty, is it real?
"Yeah, throwing tellys out of the window and shagging
groupies, I know it's there and I could push it that way if I was
more tragic.
"I said to Sean, You play it tragic, you're bound to get the
17-year-olds. Or the 13-year olds. I could do that, but I think it's
essentially bullshit."
Ben Watt-lookalike Stewart Lee, co-writer of sometime Select
telecom terrorist Chris Morris's On The Hour and
"most-likely-to" newcomer, said, "People seem to want
to shag you if you've been on stage, and when I first started doing
student gigs I thought, Wow, this is great, a kid's fantasy! Then,
all of a sudden, you realise that there are people who want to shag
comedians the same way as there are people who want to shag pop
stars, and it starts to get a bit unpleasant. You'll suddenly find
yourself with somebody who's had everyone else."
Stewart's warning-sign groupie experience concerns going back to
a fan's flat and finding a picture of Sean Hughes' face stuck up in
the bathroom with swear words all over it - but he doesn't like to
talk about it. He once saw girls from Newcastle on the Hammersmith
roundabout after a Rob and Dave gig. It was 5am with school in the
morning.
'They hang around, deludedly imagining Rob's gonna come out and
say, Come home with me. This is not going to happen."
As for rock 'n' roll mayhem, Stewart recalls touring with Jim
Tavare, very much "driving round Cardiff looking for a B&B.
Jim once spilt a cup of tea down the back of a TV and broke it. We
took the paintings of cats off the wall and drew obscene pictures on
the backs of the paintings. If Rob and Dave are Carter, I'm Mint
400".
It's not all adoring fans. A man who claimed to be in touch with
aliens wrote to Stewart during a run of Radio Four's Lionel Nimrod's
Inexplicable World to say, "You're so shit I expect you like
the Manic Street Preachers."
Comedy - Rock - Rock - Comedy - Just like that! A-ha ha ha!
"Pop stars are frustrated actors, actors are frustrated
comedians, comedians are frustrated pop stars," or so says
jolly Essex stand-up Phill Jupitus, alias one-time ranter Porky The
Poet, himself a cross-over on legs thanks to links with Red Wedge,
Go! Discs ("I answered the phone there for four years and
walked away a free man") and Billy Bragg (Porky conceived and
directed '91's Brit-nominated 'Sexuality' video). "People say
that Billy would make a great stand-up!" he adds. '"I see
myself as comedy's answer to The Members..."
In his exhaustive book Didn't You Kill My Mother-In-Law?, the
story of Alternative Comedy, Roger Wilmut notes that the new wave of
stand-ups which grew out of London's Comedy Store were
"returning to the beginnings of music hall. However, their
immediate descent was not from variety but the continuing tradition
of rock concerts." Right. Stewart Lee was inspired to take up
the mike after seeing Ted Chippington support The Fall.
Perrier-endorsed brummie Frank Skinner actually auditioned for The
Prefects, who became The Nightingales. Lucky old Sean was in a band
in Dublin with the blokes who became An Emotional Fish. In 1980,
Yazoo took old-timer Arnold Brown with them on tour – he
lasted up to four minutes a night.
John Thoday states "we treat comedians in the same way that
bands are treated", and admits that he is "very
interested" in band management himself. Stewart Lee reckons he
"found his constituency" when he played Glastonbury and
Reading last year, and describes himself and writing partner Richard
Herring as "the Mitch Mitchell and Noel Redding of On The
Hour".
But it's not just the similarity of rock and comedy as
industries, or the enormous overlap in audience, and the endless
links its major protagonists have with pop culture that lend the
cross-over its media sex appeal. It's the scandal, smokescreen and
skullduggery.
Talking to a cross-section of viable youth-market comedians, the
one thing that emerges is the guarded bitchiness and/or neo-Masonic
protection between individual camps. The thriving pub cabaret
circuit from whence they all came retains an in-built dignity and
community spirit, but, once out of The Guilty Pea and into the
realms of heavyweight management and BBC2, knives are drawn.
Rob Newman and Dave Baddiel would not be interviewed for this
article because, say Avalon, "they haven't got any product out
in February".
"What the fuck is product?" asks Hugh Dennis of Punt
& Dennis, the less hip half of The Mary Whitehouse Experience.
The pair are currently enjoying a (wait for it) 96-date tour off the
back of the TV show's success. "We're not product!," Hugh
says. "We try to be funny. The idea of product makes my flesh
creep." The Mary Whitehouse Experience, 45 shows on Radio One
then two series on BBC2, has launched both partnerships on the road
to success. Before it, Punt & Dennis were known as Jasper
Carrott's support act, but claim to have done "exactly the same
sort of material" in Mary Whitehouse, just to a younger
audience. "And now we're cult teenage comedians!" exclaims
Hugh.
"We used to be Those Two Mainstream Wankers on Carrott. It's
bizarre. We can't say we know all about indie bands or what's
happening on the street - fuck, we just don't! And pretty soon,
people are gonna get wise to that. Which might mean we suddenly get
eight million viewers on ITV, or it might mean we die."
As for money, Punt & Dennis are suspicious of Rob and Dave's
£300,000 profit, chiefly because the figure was supplied by
Avalon. "A lot of talking-up goes on, we're not interested in
that. I wouldn't want our agent to tell anyone how much we're
earning! If you're prepared to stand up in public and say, These two
are out to take your money, then fine. People are soon gonna be
sitting in the theatre thinking, We're here to be made money out of.
That leaves a sour taste."
While Mary Whitehouse was running, Rob and Dave had Avalon
working full-pelt for them as a PR company, leaving the managerless
Punt & Dennis feeling unrepresented. They even claim that Avalon
put out a press release during the first series fanfaring a six
million viewership when in fact it was a lot less. [Avalon refute
this.] Hence, the eventual parting of the ways for the artificially
thrown-together "foursome" - both pairs will have their
own separate TV shows in '93 and '94.
"We have always been aware that we're not as fashionable as
Rob and Dave. But fashionability and comedy are mutually
exclusive!" believes Steve, with Hugh quietly adding "I
don't want to go to my grave being proudest of The Mary Whitehouse
Experience". Nor the cash-in single based on Hugh's perv
character from the show, 'Take It To The Fridge (Milky Milky)', I'll
be bound.
Rather more "old school" than Newman and Baddiel, Punt
& Dennis reject the rock-style management/PR trappings of modern
comedy. They're more concerned with the gradual career path, and are
doing very nicely thank you. John Thoday will gladly tell you that
he thinks Punt & Dennis have been "handled very badly" by their agents, Noel Gay, claiming that Avalon "more than
doubled" the original fee offered by BBC2 for the first Mary
Whitehouse series - "£1,500 for two shows, which their
agent would've accepted".
The self-managed Izzard believes he was once "screwed
over" by Avalon – it’s all to do with Gerry
Sadowitz and a Friday-Saturday night slot at London comedy club
Raging Bull (run by Eddie) – but again, Avalon deny any
unethical behaviour. Eddie diplomatically says that Thoday
"puts up an enormous front; Avalon are very good at
promotion".
At the big press launch of Sean's Shorts, a "scum" photographer from the tabloids firstly asked Scan to drop his
trousers for a wacky shot ("Fuck off!") then later sidled
up to him with the address of a "sexy socialite" who was
having a party the following night.
"He wanted me to get coked up to the eyeballs, fall into bed
with some woman who wants to shag me 'cos I'm on telly and then have
it all over the papers!" says Sean, confessing that he had to
rip up the address immediately just in case he got pissed the next
day and gave in to temptation...
The scum are interested, ergo comedy must be hot. They'll be
sniffing round the TV comics for drugs stories, no doubt, and are
likely to be disappointed - the rock world's publish-and-be-damned
substance bravado has yet to catch on among the comics.
"I'm not a big druggie," says Sean. "I never
actually liked dope, so I don't spliff out all the time. But I don't
preach. I'm not pro-drugs and I'm not anti-drugs, the only thing I
would say to young kids is don't take Ecstasy or acid."
He will admit, however, that the Glasgow gig on his last tour was
somewhat marred by his constant sniffing onstage. Perhaps it's
easier to be stoned and get away with if you're in a band.
"If it's not quite working, people are less prepared to give
you the benefit of the doubt in live comedy," reckons Stewart
Lee, a strict two-pints-before-show man.
"There isn't a lot of cocaine floating around at the sort of
gigs I do. If Rob and Dave and Sean are stadium comedians, I'm more
in your Bull & Gate league." Rumours of the comedy/coke
relationship are rife, but chiefly among the established comics on
TV, where "fun talcum" is as much a tradition as the test
card.
"I've heard of performers doing comedy on 'E'!" gasps
Eddie lzzard, "I've been out of it a few times, and I don't
like it. You want to be able to go POW! POW! POW! and flip to
something that's a million miles away. If your brain isn't there, it
isn't going to happen. I've done speed before street-performing,
years ago, and dope, but that just led to an incredibly slow joke. I
fell asleep before the beginning of a show once in
Holland."
If Eddie ever gets tabloid famous (which will be tough without
television, and his first foray into that medium will be The Cows, a
self-produced sitcom for '94 that he's not even in), then his own
self-declared transvestism will be easy meat. Eddie wore a dress for
the first time ever onstage in January this year, an important
moment of fuck-you defiance which will continue.
"I am a TV and I don't have a problem with it. If you have a
problem with it then you can see a psychiatrist, but I don't. If you
don't like it, you can stuff it."
Infamy doesn't appeal to the supremely gifted Eddie anyway.
"I've always got to be able to buy a bag of crisps for the rest
of my life."
No such luck for the unholy trinity of Rob, Dave and Sean,
though. Apocryphal tales of rock 'n' roll excess now clatter around
behind them like tin cans tied to the back of a wedding car. Did Rob
really smash up his dressing room after a duff gig at London's
T&C2? Yes, but he claims he was merely "letting off
steam". Did he and Dave really steal drinks, cigars and money
out of the till in an unattended hotel bar in Preston on their last
tour? Yes, but their tour manager put it all back. And was Rob
actually banned from a chain of four comedy venues in 1991 after
calling a member of the audience "a c***"? Probably,
depending on who you ask. The Avalon story says that Rob was annoyed
by a posh, drunken rugby club-type heckler while performing at a pub
in Hampton Wick, so he whispered "Outside!" into his ear
at the end of the set, booted his table and promptly left the
building, pronto. The unofficial line includes Rob asking "How
much do you earn in a year? I make more than that in a week, you
working class cunt!" Either way, he was definitely banned from
the Screaming Blue Murder clubs as a result. Stewart Lee says this
is "typical of the old circuit's attitude" and applauds
Rob for at least upsetting the applecart.
'The devil gets into him sometimes" comments Eddie, whose
business partner Pete Harris was the very chap who banned him.
A story appeared in London's Evening Standard before Christmas
proclaiming 'The Death Of Alternative Comedy" after its author
(the wife of Viz publisher John Brown, ironically) was thrown out of
the Jongleurs cabaret club in Camden for constantly shouting down
stand-up Bob Mills for being sexist. His eventual retort went along
the lines of "If you don't shut up, luv, I'm going to fuck
you!" Her hysterical reaction to this got her ejected from the
premises.
"You start to think to yourself, well, what's comedy all
about?" ponders Sean. "Are we just here to make lots of
money and do drugs and fuck people, physically and
spiritually?"
At the moment, that's certainly how it looks. As Viz character
Student Grant chucks out his old Vic 'n' Bob videos in favour of the
Milky Milky T-shirt and "That's you, that is" catch-phrase
mania, you wonder to yourself how long you can maintain this uphill
allegiance to tiresome, unglamorous, straight-edge bands. It's all
lightshows and re-releases, anyway.
"Rob and Dave have forged a new path, and there aren't many
bands doing that," says John Thoday, as close to Led Zep's
heavyweight manager Peter Grant as comedy gets. "They're in
tune with the youth the way the Rolling Stones were in tune with the
youth in the'60s. Where's the band doing that? It's not Take That is
it? Bands don't know what the fuck they're doing.'
All aboard for Comedy Babylon, then, kids! We'll get laid,
pissed, stoned, fall in love, swap clothes, have a fight and torch
the place! Could be a laugh.
SNIGGERS WITH ATTITUDE
Cast of characters
Rob
Newman
Cambridge-educated sex god of new comedy scene,
built reputation as impressionist, then, via unusually
"on-the-pulse" pop material evolved bedsit angst-merchant
persona. Once romantically linked with Mags out of Fuzzbox.
Dave
Baddiel
Cambridge-educated proto-stude New Lad with
intellectual lavatorial bent, Broadcaster in own right on BBC2's A
Stab in The Dark. Mates with The Sundays, unfairly tagged as "a
wanker". Contrary to popular belief Newman and Baddiel are not
a double act.
Sean Hughes
Irish
Perrier Award winner (1990) with monologue style that takes in
Morrissey and Samuel Beckett. Channel Four's Sean's Show now usurped
by BBC's wackier Sean's Shorts. Sings on next Bubonique record.
Eddie Izzard
Steadfastly
live "word-of-mouth" stand-up phenomenon with inimitable
rambling delivery and transvestite trappings. Has only ever done ten
minutes of telly and proud of it. Now manages indie band The Wasp Factory.
Stewart Lee
23-year-old
would-be sex symbol, Oxford-educated (at same college as Tallulah
Gosh and Andrew Eldritch, The Jazz Butcher), described as "New
Rob Newman" in '92 Glastonbury programme, Erstwhile On The Hour
contributor, he is now ensconced in own Radio Four series Lionel Nimrod.
Phill Jupitus AKA Porky The
Poet
Essex stand-up/compere all-rounder who has a shady
past as ranting post-punk polemicist. He has directed three Billy
Bragg videos (including 'Sexuality'), supported The Housemartins, and worked for Go! Discs.
Steve Punt & Hugh
Dennis
Cambridge-educated double act who made name on
various Jasper Carrott TV shows. Dogged with "crap ones off The
Mary Whitehouse Experience" label, but have since forged an
unlikely career as hip live ticket and sitcom fodder (ITV's You, Me And Him).
Picture captions:
Pic of Rob Newman
onstage:
"Hello, Preston! Are ya ready to laaaaugh?
And, like, hey, consider the inherent godlessness of the universe?"
Pic of Rob Newman's routine pages in
dressing room:
See? Even comedians have set lists!
Pic of Punt & Dennis:
Punt & Dennis: Are these men really the crap
ones off The Mary Whitehouse Experience?
| [NOTE: This is a slightly edited version of the article as published in Select, amending or removing short sections which Avalon were originally displeased by.] |