He co-wrote godfather of alternative comedy Malcolm Hardee's autobiography "I Stole Freddie Mercury's Birthday Cake", edited Scots comedian Janey Godley's best-selling autobiography "Handstands in the Dark" and edited "Sit-Down Comedy", an anthology written by 19 stand-ups, as well as contributing to the book “Anatomy of the Movies” with Martin Scorsese, Donald Sutherland etc.
His TV work includes "Tiswas", "Game For a Laugh", "Surprise Surprise", "The Last Resort with Jonathan Ross", "Jack Dee's Saturday Night" etc. He has written for "House of Hammer", "The Independent", "International Times", "Screen International", "Starburst" etc. He financed cross-dressing cage-fighter Alex Reid's controversial feature film debut "Killer Bitch”.
He is UK consultant for New York based entertainment company Inbrook.
His career has involved TV shows, TV promos/marketing, TV station launches, writing for magazines, editing books, staging live variety shows, financing a feature film and being arrested by the Syrian Army in Beirut. And yet he still cannot juggle cooked spaghetti.
I thought it would be jolly to chat to Rubberbandits for this blog, because I thought there might be a chance they would pay me money in a belated, after-the-event bribe to win the increasingly prestigious Malcolm Hardee Comedy Award.
Scots comedienne Janey Godley's daughter Ashley Storrie has decided to take up comedy again, after a gap of about 11 years (depending on how you calculate it). Ashley got her first acting part at the age of three as 'the wee girl in the metal tea urn' in the movie <i>Alabama</i>.
To save money on paying the police, England and Wales are now blessed with cheaper "Community Support Officers" to back-up the 'real' police. I suspect (with no evidence, m'lud) that these are often wanna policemen and wannabe policewomen with over-developed superiority complexes.
I went to the recording of a TV show as a member of the audience and queued up with the audience. It was a pilot for a possible comedy panel show series and was being recorded by an experienced independent production company at a BBC studio site for (it seemed) possible transmission on a non-BBC channel.
"This is why I started gigging under the name Miss D - because I was scared. I thought <em>These people are so vicious they will come follow me to gigs</em> and, because my on-stage persona was so new and vulnerable... Look, it's scary coming on-stage and telling jokes when you think you have a lot of enemies you don't even know."
There has been a lot of talk in the last week of the UK live comedy business facing economic catastrophe. So I asked Noel Faulkner, owner of London's Comedy Cafe: "Is the UK comedy business actually in crisis?"
Banning any jokes about anything is a bad idea. Trying to get comedy club owners to ban comedians who (they believe) tell or have told or may tell 'rape jokes' is not just a bad idea, it is actively dangerous. Where does the censorship end?
The BBC is getting blamed for doing nothing about Jimmy Savile, although it seems, over the years, five police forces actually investigated stories about him in some way and did nothing. I worked in British television from 1973 onwards, though only twice on BBC programmes; the rest of the time, I worked for ITV and independent companies. Still, I heard rumours about Jimmy Savile.
If rape jokes are to be banned, why not also ban murder jokes, incest jokes, adultery jokes and jokes about travelling salesmen, mothers in law and rabbits? All were certainly offensive to the ears of pre-War BBC Radio. It is a short and slippery slope from banning jokes to burning books.