Pierre Hollins - "The audience is there to be entertained by ideas"

[00:00:33] And welcome to the latest episode of You Should Have Been Here Last Week, the podcast hosted by myself, Steve Gribbin and fellow comedian Paul Ricketts. Greetings to you all. You Should Have Been Here Last Week is the podcast that forges the access all areas backstage pass to gain access to look at what's really going on in the hidden recesses of comedy.

[00:00:53] Each show we take a look at the beraters, the haters, the slaters, the slaggers, the braggers, the blaggers, the pioneers, the profiteers, the musketeers, the I'm all ears and the downright show-offs that go to make up this comedy business that we call show. And this week's very special guest is stand-up comedian, writer, novelist and musical comedian in excelsis, the one and only Pierre Hollins. Welcome to the show Pierre. Hello. Pleasure to be here, fans. Woohoo!

[00:01:24] I mean, we always start off by asking, you know, how did you actually get started? Purely by accident. So I was, when I finished college, I started a theatre group with a couple of mates and we had a weekend, I brought in a weekend of gigs in a place called Seatro Tecnus in Camden.

[00:01:53] And on the very first night, and it was going really well, I spent all my very little money on it. And during the first night we had this quick change behind the scenery and my buddy went, I don't think I want to do this anymore. And I said, mate, can you just at least make it through, you know, this performance? Yeah, yeah, yeah. Right, yeah.

[00:02:20] And then I thought, I'm never going to work with anybody else ever again after that. And that week I saw an advert for Cast New Variety, they were doing auditions. Do you remember Cast New Variety? Yeah, in Hackney. Yeah, they had like about four gigs at that time. They did. So I just kind of cobbled something together with the props I had left over from this theatre show.

[00:02:46] And I thought this is great, man. You know, I'm being paid for just for dicking around. And that's literally what it was. I was just dicking around really with props. I think I went to those auditions. Oh, did you? Because, yeah, they were sort of like 82, 83, weren't they? Yeah, yeah. It was for those four. They were your auditioning to be given a gig. It was Cricklewood Hotel, Brixton White Horse.

[00:03:15] I can't remember the others. Oh, there's a couple of other ones. Yeah, yeah. I can't remember. Yeah. Yeah, I mean, they were dead. I mean, it was exciting, man. It was so exciting. Because back in the day, it was a big secret, you know, this kind of new variety. It wasn't even called comedy. It was kind of new cabaret, new variety. In fact, a stand-up was the exotic species on a bill. You know, if there was a stand-up on.

[00:03:43] You know, they were the extraordinary, you know. Yeah, yeah. That's true, actually. All the mad kind of poets and special acts and just nonsense that people like me and others would just cobble together 20 minutes of, you know, of madness and get paid for it. You know, we were the, that was the mainstay for the first few years, definitely. You know, I mean, crazy acts like the Iceman.

[00:04:13] Do you remember the Iceman? He melted a block of ice. That was his ass. I saw him nearly get murdered at the Tunnel Club. They had to be escorting out the back entrance. People are gonna fucking kill him. Some bloody just went, is this all it is, mate? And he went, yeah. Yeah, yeah, yeah, yeah. And the block of ice is slowly, oh my God. It was terrible.

[00:04:43] Yeah, go on, sorry. No, I mean, yeah. So anyway, so that's what it was. It was by, purely by accident. And then without kind of realizing it, suddenly I was earning some money. And I remember this one gig and it was just so exciting. It was the Hemingford Arms. This is maybe 83. It was a gig called Zena Najbodoma.

[00:05:11] And the compere who was also running the gig. Oh, yes. I know. He was striding about the stage going, all these eggs are getting paid a pound a minute, ladies and gentlemen, a pound a minute. And it was like, that was so exciting. You can't imagine how exciting that was.

[00:05:34] And, you know, and in my dream of dreams, I thought, my God, man, if I got three of these a week, I would pay for everything. Yeah. I would actually pay for everything in my life, you know? Yeah. And I think that's never going to happen, is it? That's never going to be three gigs a week paying me a pound a minute. Can you imagine if that happened now with the compere going up and down the stage going,

[00:06:03] all these acts are being paid 90p a minute. Yeah. Yeah. Yeah. Slightly less than we were 30 years ago. I mean, it's a terrible thing to do. You know, there was a gig I did in Rochester. There was a sister gig of somewhere in Maidston. And, oh my God, it was a really awful atmosphere. Just horrendous atmosphere. But the publican had told the punters how much we were getting.

[00:06:33] And they just absolutely resented the fact, you know, that we've been paid so much. It was like, it's probably a ton, you know? Yeah. And the audience is just full of kind of manual laborers and this and that. And, you know, I mean, good hard working fellas who would work like eight hours for under quid back in the day, you know? And it was, there was such animosity in the audience. It was horrendous.

[00:07:04] So, isn't it funny how now, even like 35 years later sort of, there are certain gigs or certain places. I mean, Paul knows this as well, but Rochester is one of them. Yes. Yes. There was a real malevolence in the, just in the audience, in the room, you know, in the audience, maybe in the town itself. I don't know.

[00:07:26] But yeah, there are certain, you know, I never had a nice gig in Kent for decades. It was just my kind of most hated, sorry, Kent. Do you know, my whole family's moved to Kent. My family's moved to Kent. And it was the place I just couldn't get a break, you know, for a gig.

[00:07:50] I had so many incidents, you know, being followed outside, you know, fellas, you do what, mate, I'm just trying to make you laugh. I'll tell you this, this is just insane, right? There was a little, it was a really nice gig. I can't remember where it was. This is in Kent somewhere. So it's a little proscenium arch stage. And behind the stage is a little dressing room. And it was a horrible gig, absolutely horrible gig.

[00:08:19] And so all the acts, we went into the dressing room behind the stage and somebody started skinning up. We're there for an hour or so. We came out mashed, absolutely mashed, and then realized that the most violent aspect of the audience was still in the bar, in the room. We were still in the room. So we staggered out of this, clouds of smoke following us, you know.

[00:08:45] And then we suddenly were surrounded by all these geezers, you know. We're so, you know, what's the problem with our town then? You know, we'll take the piss of our town. You come over, you take the piss, what's the problem with our town? Nothing, nothing's wrong with it. So many. I mean, that's what's exciting about this job though, isn't it? Don't you think, I mean, that kind of thing doesn't happen anymore. Threats of violence.

[00:09:13] I used to think that was just so exciting. This is my job. This is what I do for a living, you know. Yeah, I mean, I think threats of violence is not as common as it was. Although it still does happen. We've talked about this extensively in other podcasts when we actually devoted a whole one, didn't we Paul, to when it really kicks off. Oh, yeah. I mean, and you do have so much form on this that people are constantly attacking you. I mean, not constantly, but a lot.

[00:09:42] I've been strangled, punched, had a coin thrown at me, which almost would split my nose. No way. Yeah, yeah, yeah. I mean, I've never been physically attacked, you know. But I have seen violence, you know, in the room. I mean, there was one incident that, just a little while ago, at Battersea Junglers. So God, that's dating it, right? Yeah. It's going to be a good 10, 15 years ago.

[00:10:13] So, there was a couple of lads on this front table who had just, one of them had just come out of jail that day. And he was out, he was out with his mum and his nan and his brother. And they're on the front table. And I was comparing. And I thought, and I was trying to chat to the front tables. And I came to chat to this dude. And he just went, just no, mate. That was it.

[00:10:43] No, mate. So, I left him alone. Everybody left him alone. Because he was just a dodgy looking dude. Yeah. And then Amos, arise from a different gig. He has no idea what the room is like. Oh, God. And so he starts chatting to the audience. And he starts chatting to this bloke. And the bloke's going, just do your jokes, mate. Move on, mate. Move on. Move along, mate. Just do your jokes, mate.

[00:11:12] Nothing to see. Yeah, exactly. So, then somehow, Amos turns it into like a racial thing. The dude's going, why don't you just go home, mate? As in, why don't you just, not go home like, but just like, leave me alone. Why don't you just, you know, just finish your gig and go home. Like literally home. Do you know what I mean? Hmm.

[00:11:40] So Amos thinks, oh my God, well, I'm going to turn that. And he turned it into like a racial thing. And then on the opposite table, there are these two real gym bunnies, these two Asian gym bunnies, big stacked fellas. Right? And they went, oh, getting racist, is it? And then suddenly they put their hands under the table. Boom. The table is in the air. Right? And the room just exploded. I've never seen anything like it.

[00:12:09] It was just insane, man. The room exploded. And within about 10, 15 seconds, it was empty apart from just a small, this small gang of, you know, these two Asian gym dudes. And this fella had just come out of jail. He's soon to go back into jail. It was insane. And his mum at the side. And he's mad. And Amos is on stage like, oh, is this something I said? I don't know.

[00:12:41] I don't know. I don't know. I don't know. I tell you what, talking about violence in the audience, this is a true story. Quickly, I was doing a gig at Anfield, the football club, and it was a special sort of do in the evening. And there was a comedy thing on me. It just wasn't. Everyone was very drunk. And there's a guy in the front, and he just, you know, when someone's got an aura about them. I didn't know who he was, but he apparently was a local gangster. Okay, yeah. And I was on, and he just went like this. He just did the figure of the gun like this. He went, shut up.

[00:13:11] Oh, no. And I went, I was doing that thing, oh, shut up. Ooh, I'm really scared. Yes. Somebody next to him was just going, no, mate. And something in my head went, I better leave it, because you know, you can just tell sometimes, can't you? Yes, yes, yes. I mean, it's a fine line, isn't it? Because you've got to front it out, you know. But also, you can move on. Yeah. Oh, that's funny that he is.

[00:13:40] Me and Paul desperately want to know what happened to his mom and all that. No, his name. That's what I want to find out about his name. I think she probably got stuck in. Yeah. Yeah. I think so. Yeah. So, we always, I mean, did you have any comedy heroes growing up that made you want to get into comedy? I mean, who's the sort of people that you looked up to? Um, not really. I mean, I remember watching Dave Allen, you know, with I used to love.

[00:14:07] Although I did, I missed a lot of formative television because my parents lived, my dad's near to have a controller. So we moved from different countries and we didn't have kind of UK TV, you know. So I missed all of that growing up telling, you know. Yeah. Yeah. Yeah. Yeah. Dave Allen.

[00:14:28] I do remember Dave Allen thinking Dave Allen was just sublime, you know, just how he could just sit there and just conjure up these, these just lovely stories, you know, with all the different accents and the nuance and the, you know. Yeah. Yeah. So, uh, to go back to your start, what sort of props did you used to use? Talk us through the props. Go the bees. Oh my God. I don't even want to go there, man. That's why I'm off to go there. Okay.

[00:14:58] So eventually I ended up with a unicycle, uh, step ladder. I used to jump off a step ladder into a glass of beer. Wow. Um, that kind of nonsense, just nonsense really. Yeah. You used to play the tennis racket as well, didn't you? Oh, that was way later, but yeah, I did. Yeah. Yeah. You, you, you wired up a tennis racket to. Yeah. I made a guitar out of a tennis racket. Yeah. Yeah. Sounded great, actually. Sounded fantastic.

[00:15:27] I mean, I played it through a death metal pedal. Um, you know, yeah. Yeah. Sounded fantastic. fantastic so how has your acts changed over the years then oh my god i mean well from being because i mean that first act i had was really a street act you know it was the stuff i used to busk with you know covent garden and festivals and stuff and then i took that indoors then i kind of got

[00:15:53] sick of it and i tried a few other different things and then as steve said i made the this guitar out of a tennis racket and then after a while i thought i should actually get a guitar i couldn't play the guitar i mean strangely enough the tennis racket adapted to be so never really caught on did it

[00:16:21] the weird thing is i have seen do you know it's because i'm once doing guitars it is it's oh c16 isn't it it's called a diddly bow oh yeah yeah and uh i've seen i've seen a few um a few fellas playing on one string there's a lovely there's a lovely video of uh hubert sumlin i don't know if you know hubert sumlin he was a sideman for howling wolf yeah uh and he tells his story of

[00:16:50] learning to play the guitar by putting some bailing twine on between two nails on the side of a of a shed and then just playing it with a bottle you know like a bottleneck oh yeah lovely stuff it's so fantastic isn't it yeah yeah it's beautiful yeah and he ended up being i mean hubert sumlin was just fantastic big big fan big fan of him yeah yeah so it's kind of changed you know you just get bored

[00:17:19] and move on and try different stuff and whatevs that's the thing that has changed i mean you'd mentioned about the early circuit was full of like strange acts special acts jugglers you know yeah absolutely yeah there used to be a lot there used to be a lot more musical acts as well didn't there but there's a there's only about four left now isn't there yeah there probably were actually yeah there probably were now you come to think of it yeah yeah yeah um i mean what do you think is the

[00:17:44] the reason behind that change where it's now become it mainly is stand-up isn't it it's mainly stand-up i mean because stand-up is um it's a direct exchange of ideas stand-up yeah and i think um that's really what we're there for that's what an audience is there for isn't it to be entertained by

[00:18:08] ideas you know and to um to be drawn into somebody else's world you know and it's easier to paint a world through words than it is with anything else sometimes maybe i don't know um maybe it's more relatable to people you know i mean there's a term that john maloney uses he uses it quite disparagingly actually when he says uh that's a lot of modern stand-up is um live blogging

[00:18:41] which i kind of i kind of understand but also i mean i don't no that's not really true i don't see it as a i mean you know we are the brilliant thing about about stand-up today is that people are expressing some aspect of their lives directly it's not just a string of of silly tricks or uh pub jokes or jokes that you've heard before or things that don't relate at all to the to the

[00:19:06] person telling them you know they are they they're directly relatable to the person speaking uh and that's why it's so engaging i think you know because we're allowed a little window into somebody's life yeah but there are there are exceptions to that as well and it's different there's so many different types of comedy absolutely there's not there's lots of sort of like silly comics as well about yeah loads more i mean you know i mean harry hill's the ultimate silly

[00:19:34] isn't he yeah yeah yeah but i have a theory that uh one of the reasons that it just sort of went down to standards because um as as it became more um more successful the the sort of comedy circuit and it became more expensive to go and see it you had like four acts and a compare and people would weren't people the promoters especially stopped being willing to take a risk on somebody it might

[00:19:59] go bad you know like i'm thinking of people like yeah yeah because martin martin soan used to be a brilliant act and then um i i'd be on with him some sometimes and you're just staring at him like he came from another planet you know i mean maybe taste changes like uh chris lindon chris lindon was the king of the circuit for years yeah we've had him and there's no way you'd be able to follow him absolutely no way well it'll take a bit of time you've got clear the stage of all the

[00:20:29] all the ice cubes and the chocolate do you know what it's just occurred to me if people listening to this don't know who he is that's going to sound a bit bizarre isn't it ice cubes and chocolate all over the place yeah well he ended up i mean i think the last time i saw him he was really in his prime you know yeah he um so he used to end up he used to end up completely naked with a firework up his arse up his

[00:20:59] arse yeah yeah yeah uh singing there's no business like show business and uh the last time i saw him uh doing that i mean he went he did that right in the audience so there's about 200 people in the audience oh my god and and he just stood on a table in the middle of the room um and they and he was so in control he's actually so in control i mean he looked you know like like a mad genius

[00:21:29] um and they all started and he got them all to sing along you know and he and everything he went he went i'm naked i've got a firework up my arse and this is a tempo song you cunt

[00:21:47] come on oh god i wish you'd seen that totally in control so in control yeah yeah yeah i mean i mean sorry sorry i was gonna say that's what i really loved about some some one aspect of that kind of mad show is that you just took the audience on a kind of weird journey you know

[00:22:16] i know yeah yeah i mean there used to be uh oh god uh randolph the remarkable he used to be the bloke yes do that yes no he used to i used to dive but he used to do like it was a bowl a bowl yes with full of water he used to pretend to dive into it yeah my favorite bit of that was when he was he had it stuck because he was quite big wasn't he yeah at one point he just turned to the audience he goes yes this is how i make my living and they just went yeah yeah this is brilliant i

[00:22:45] just loved stuff like that yeah yeah but there was a there's a weird kind of theatricality about those kind of acts you know it was like old musical yeah it's interesting you should say that you came from a kind of a theater background because um uh i think that nowadays people coming through much more come from a comedy background as in there would be yes in a comedy yeah um again this yeah the

[00:23:11] street performer as well yes i think at heart i am a speciality act at heart yeah andre vincent would like us my figures that the musical comedian why is it looked down upon by the uh stand-ups because they're

[00:23:32] always sort of disparaging about musical acts what do you think that is i think because it looks easy and i think because you can play any tune and then go da da uh and you'll get a round of applause and can i just say not necessarily no no i'm seeing it i'm seeing this from the point of view of a stand

[00:24:00] times you go like this that's what it looks like yeah go on you know i mean there's a there's a there's a whole different skill set obviously um and in terms of getting the jokes you know um i think i think sometimes musical acts are judged through the lens of the worst musical act do you know what i mean

[00:24:26] your um stand-ups have seen the worst and they equate you with the worst yeah yeah i think i think it's something like that but let's be honest there is bad in every form yeah absolutely true yeah yeah that's me yeah yeah it's weird i mean i don't know if what i don't think i'm i don't know if i am a musical i mean i'm a stand-up with a guitar i think yeah probably

[00:24:53] yeah i suppose yeah because the first like uh 10 minutes of you yeah that's chat chat yeah jokey jokes you should do a workshop and call it chat chat jokey jokes and we always ask this question i know this is a terrible question but i mean so we talked about the the way that it's evolved over the years but i mean where do you see what

[00:25:22] what do you think the future direction of comedy is i mean we have to mention the dreaded two words uh social media i mean is that's going to loom large it isn't it um i suppose so i suppose so i mean lots of people are getting uh you know you hear these stories of people selling out you know big rooms and selling out tours you know even though they've hardly done any live gigs you know i don't is that true you know you hear these stories don't you so a certain point

[00:25:52] i don't know if it's tours i know that people have put on certain gigs and uh have come from social media and have packed their room out yeah and and i've heard people who've been to these gigs saying yeah the first five minutes was okay and then it just yes yes yes and then you know apparently at one point someone actually turned it into a live stream and as soon as it became a live stream

[00:26:16] suddenly it improved because he was doing what he was good at yeah that's true yeah yeah yeah yeah and have you sort of uh partaken in it yourself have you put any stuff up on uh no i haven't actually although i am going to start because i've got a book i've just finished another book and uh i am or i've almost i hate to even talk about this

[00:26:42] but i'm kind of on the verge of getting a deal with it so i'm just going to start doing some um bunch of social media stuff about that sort of you know more bookish kind of comedy bits taken from the novel so um yeah so i'm gonna i'm gonna start i'm gonna you know dip my toe into the um i mean hey look man there's no reason why we shouldn't we should all be doing it really to be

[00:27:07] honest we should all be doing it i mean these tools are there for our use you know uh would be foolish not to use them you know but like like like i said earlier there's good and bad and everything right there's good and bad and everything you know there's good social media you know stuff there's shocking stuff you know same as anything you know in any form there's good and bad you know there's no you know like um you people might disparage i don't i don't know chick lit

[00:27:36] for example but i'm sure there must be some very well written chick lit books you know probably is yeah yeah so yeah you know whatever i don't know i mean a lot of people say that a lot of sort of experts and saying this with um the social media you just keep posting keep posting keep posting keep posting and in a sense and we can see this because the quality sometimes isn't very high but it's volume as much as you know it's as as much as quality i think you're absolutely right i think

[00:28:03] you're absolutely right yeah do you do you post much steve yeah i do yeah um i'm on tiktok all the time okay but i'm going to repost something that's now become more topical because of a court case that's just happened okay as we're talking about it then how does it help how does it help you do you think um i have noticed that well i think promoters know more they want you to post more you know

[00:28:29] they want you to do instagram and tiktok and um they want you to share with you and actually sometimes i've gone into venues and people not not all the time i'm not because i'm a very low level but sometimes people will say to me oh i liked your stuff on ah right interesting you know so they're watching yeah but not not all the time obviously because i i even i'm not doing it it should be like three four times a week yes yes so it's every two weeks it's just another part of

[00:28:59] the job isn't it yeah i know but you have to you have to do it yeah yeah yeah yeah well i'm not i'm not i'm the only one out who don't give a fuck i'm not doing it i mean i don't have a listen to you pierre i feel really guilty now i feel like i'm stuck on the outside looking in i've got to you know put my toe fully in there

[00:29:23] well it's taken me ages to get around to you know making plans you know because i didn't want to just put clips or just do me talking about nothing as i'm walking down the road oh look there's a bloke oh he hasn't put his pins out oh that sounds like it that sounds like a good one oh yeah that's 99 the handheld ones they're walking down i mean that's that's coming back to the lovely john

[00:29:52] maloney's phrase that is life blogging isn't it uh listen um what's his name richard osmond richard osmond is a multi-millionaire from those awful awful books that he writes so so how does anything in the world make sense can we quickly talk about your last book though because i was intrigued you have got one novel called the karma farmers what's it about what's it about it's kind of a crime it's a

[00:30:16] crime fiction um involving a uh a theoretical scientist yeah is there a scientist in theory or no no no no the real person a real person like called david bohm who had an alternative

[00:30:37] interpretation of quantum mechanics um and so that's kind of what it was about right it was it was it was about the idea that this notion of quantum mechanics and he was uh putting forward was kind of was closed

[00:30:58] down um in favor of an easier version it's yeah it's about randomness versus um well what's the opposite of randomness where everything is determinism so uh so david bohm was a um he was a marxist and he his idea was that we should take the randomness out of life uh because people say oh

[00:31:27] this happens oh it's just random you know there's poor people in our country oh that's just random some people will be poor you know though there's people with no schooling and not enough medical care or whatever that's just random there's people over here with all the money that's just random you know random so he thought if he could take the randomness out of uh quantum mechanics which is the

[00:31:51] most basic understanding of what life is according to a physicist if he could take the randomness out of it then we would challenge things that were displayed as random in our social lives and therefore there'd be more determinism so when people would say why are these people poor it's because somebody wanted to keep them poor so we have an underclass so we had cheap labor so um you know the

[00:32:19] yeah people with all the money and the power make more money that's kind of what his was so that's sort of what the book's about so what how who's murdered and how uh me yeah i'm not kind of okay fair enough is it someone in rochester

[00:32:43] so yeah i would see you as a bit of a polymath actually a polymath yes i mean the other word for it is renaissance man yeah no no like michelangelo and leonardo da vinci so this is my question so out of those two who do you think would have the strongest 20 minutes

[00:33:08] that's a great question that's a great question who were they who are the contenders again it was michelangelo and da vinci you can stick alberti in there if you fancy it oh my god i think da vinci da vinci would would smash it wouldn't he that's what i thought that's yeah yeah it's good it's good it's good cartoons didn't he got a sense of you that's a great question there's a there's a lovely song about uh no one likes the polymath do you know that on the

[00:33:36] on the latest um half man half biscuit album no yeah that's great oh man look it's just sublime i'm glad you like them i love them oh me too me too we have run out of time now so oh no yes we have oh man that flew by it's great pia it's very fun yeah it's been a pleasure chatting to you

[00:33:58] fellas and good to see you yeah yeah yeah so that was pierre hollins yeah who was yes we didn't even get on to his uh you know he's a graphic artist as well i didn't know that no ah damn um anyway well thank you very much for watching and listening everyone yes yeah uh i am going to say the normal

[00:34:24] thing because i do realize that podcast apparently it's a good thing to have so you say the same shit every time you finish the show yes and apparently say the same shit when you start the show which we do do do that bit so uh if you've enjoyed this show like subscribe tell your friends send us money spread the word i think if you know anybody in rochester

[00:34:57] send them a link to this show because they need to know that they're not well loved oh shit and i'm going to be digging in rochester oh are you i think in a couple of weeks oh dear don't say where don't say no i'm not going to say where but they all know they'll know rochester will find out i can yeah i can just imagine anonymous participant 215 is already going

[00:35:26] i'll fucking hate you yes in the rochester times visiting comic slags off rochester what's his problem what's the matter with our town what's the matter with our town oh it's uh yeah anyway uh we we do love you really don't we yeah we do yeah yeah yeah it's better than chatham yeah well that we just started now that would be yeah a year okay it's better than jillingham yeah jillingham rochester

[00:35:56] chatham three way don't get me started on stroud was it strewed who knows i don't know is it scott or scone we don't know do we so people actually yeah this is you know obviously send this to uh people of rochester if you know anyone there because we've just come up with so much knowledge

[00:36:20] about the medway area it'd be a shame for this to be wasted so yeah or do that for that's it yeah also if there are any fans of the notorious um 18th century libertine and rake uh lord rochester if you'd like to send this to members of the health yeah yeah yeah that's it yeah if you'd like to draw a big penis on the uh email just send it to us thank you very much just draw a big penis don't and yeah

[00:36:48] for your own your own pleasure and then we we get it like this wouldn't we go oh yeah it's from rochester oh i'm sorry this is this has turned into a rochester uh slag off well it's degenerated into talk about rochester and penises which is yeah yeah well it's so stand-up isn't it yeah make up making of an adenborough show that is i got cock in rochester a one-man show yes

[00:37:21] there's a lovely ending i can't tell you what it is the happy ending even happy ending yes oh dear right i think that's a good way to yes let's say goodbye now bye bye

[00:37:52] this podcast is part of podomity the uk's podcast comedy network why not laugh at what else we've got visit podomity.com