Why there are no conservative comedians…anywhere.

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Ooh! Naughty BBC Radio 4! Apparently they’ve been producing approximately five times as many jokes about the Tories as they have about Labour! It seems the Daily Mail were right about the Bolshevik Broadcasting Corporation all along! Go back to Moscow, commies! If you love China so much (or indeed anywhere that’s actually communist these days. Laos?) why don’t you go and live there? Why don’t you marry Raul Castro? Come on BBC! We know you want to.

Well, no. Actually the BBC have an excuse and to be honest it’s a pretty good one. It seems that there are not enough comedians of a conservative ilk around. Caroline Raphael, Radio 4’s comedy commissioner admits they have trouble recruiting comics from the Right. And before anyone splutters at this, think about it. It may well be true.

I’ve bored Chortle readers on the subject of the dearth of conservative comedy talent before (http://www.chortle.co.uk/correspondents/2011/12/02/14451/clarkson_has_taught_us_one_thing%3A_right-wingers_arent_funny) and do not intend to repeat myself. But last time I did not really seriously consider why there are so few famous funny Tories about.

The obvious explanation is that the Tories are the leading party in government. Were Labour in power there would clearly be more jokes about them as indeed I am sure there were, were a similar study to be have been commissioned before 2010. This also explains why the Sunday Telegraph (who conducted this recent count) also found a larger than expected number of jokes about the Lib Dems.

This doesn’t fully explain why there are five times as many jokes about the Tories than Labour though. That is a wide margin, after all.

Could it be that Labour are less inspiring comedy targets than the Tories are? This too seems plausible. But it also seems odd. If the Opposition is struggling, they would surely provide ripe targets for satirical bullseyes. Spitting image, after all, didn’t let Neil Kinnock’s Labour Party off the hook in the Eighties. Is the public really so enamoured with Ed Miliband as in the days of early Blair or Obama, no satirical barbs can touch him? I very much doubt it.

Is the Beeb itself the problem? It would actually seem not. The issue extends way beyond the BBC. As I’ve discussed before, the entire comedy circuit inclines to the Left, not just the studios of Radio 4.

The Telegraph suggests that the left wing environment of many comedy clubs might be preventing right wing comedy talent getting through. But why should the comedy world be any more left wing than anywhere else?

Telegraph writer Dominic Cavendish suggests this might be because the circuit tends to favour younger comics. But even assuming older people are more likely to be conservative (something I don’t necessarily accept anyway), this doesn’t explain why older comics tend to be more left leaning assuming that they have any viewpoint at all.

It’s not hard to imagine a conservative comedian. The tabloid-sequel views of Jeremy Clarkson would fit the bill even though he’s not technically a comedian. Are we ever likely to see a popular comic who defends the bankers and the Tories and who rails against the unemployed, benefit “scroungers”, the EU and asylum seekers? I don’t know. I’m also disinclined to think many comedians deliberately stifle their conservative views for public consumption. I don’t think they ever had those views in the first place.

Perhaps it’s simply the case that the bohemian creative world of the arts will always spawn more socialist firebrands than conservative cheerleaders.

Or to risk an old joke myself, if you really want to see a bunch of conservative comedians, take a look at the government.

 

 

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The trouble with satire

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It is a truth almost universally acknowledged that political satire only tends to truly thrive under Tory Governments.

This has been true ever since the birth of the first modern satire boom of the early Sixties. Peter Cook, Dudley Moore, Beyond the Fringe, Private Eye and That Was The Week That Was all prospered during the dying days of the Tory regime of Harold Macmillan and Alec Douglas Home. Likewise, although rarely overtly political, Monty Python’s Flying Circus (1969-74) enjoyed its true heyday under the government of Ted Heath (1970-1974). Then came Thatcher and Major. Margaret Thatcher’s election in May 1979 coincided almost exactly with the birth of alternative comedy. But it wasn’t just that. Not The Nine O Clock News, Spitting Image, Have I Got News For You, Bremner, Bird and Fortune, If…, Dear Bill, The New Statesman, The Friday Night Armistice and Drop the Dead Donkey undeniably got a boost from their being a Tory Government in power.

Why should this be the case? Partly, it’s because true satire rails against the Establishment and the Tories embody the Establishment better than Labour ever can.

It’s also because, in general, right wing people tend not to be very funny. Lady Thatcher, despite inspiring great satire herself, famously had virtually no sense of humour. Boris Johnson’s buffoonery amuses but he rarely says or writes anything which is deliberately funny. Jeremy Clarkson, meanwhile, is quickly out of his depth in the world of politics (as opposed to motoring) and rarely gets beyond saying anything shocking or childish when he venture into the political arena.

The myth that the politically correct Left lack a sense of humour is ill founded. It’s actually hard to think of anyone funny who isn’t on the Left. Ask anyone for a list of funny right wingers, meanwhile, and most likely their list will solely consist of the obscure, the racist or the dead.

After the 2010 General Election something clearly went wrong, however. We now have a Tory Prime Minister again. So why are we not enjoying a new satire boom?

Part of the problem might be that because New Labour were arguably almost as conservative as the Tories, satire never really went away under Blair and Brown. The Thick of It owes its origin to these times and in fairness, is still great. But Have I Got News For You and Mock The Week are clearly past their best and 10 O’Clock Live has never really got off the ground.

I blame the politicians. Whereas in the Eighties, politics was filled with colourful characters ranging from the Bennite ultra-Left to the uncaring Thatcherite Right, the Blairisation of British politics has been fatal to satire. Blair was the most successful politician of recent times: little wonder everyone wants to be like him, elect a party leader like him and fight for the centre ground like him. Cameron, Miliband and Clegg are all essentially Blair wannabes: posh, PR friendly men in suits. Miliband would never wear a donkey jacket, Cameron would never drive in a tank. From a comedic point of view, this is bad news.

The Coalition confuses things further. Try as we might to pretend Cameron’s lot are the new Thatcherites, this is only partly true. They are occasionally uncaring, more often incompetent, sometimes liberal and, yes, sometimes actually Liberal as in Democrat.

The global scene doesn’t help. The idiotic George W Bush was satirical gold, just as President Reagan had been two decades before. But Barack Obama, an intelligent, moderate, slightly disappointing but well meaning black president is hardly the stuff great satires are made of as the failure of the novel O demonstrates. In this respect alone, perhaps Governor Mitt Romney would be better.

British politics seems to lack the colour of the past too. But perhaps I am wrong to blame the political set up. Take the former Tory Foreign Secretary Douglas Hurd. He is a decent man, yes. An exciting man? No. Trust me: I have seen him speak. And yet in the hands of Spitting Image, voiced by Harry Enfield, with his hairstyle strangely coiled, his puppet was frequently hilarious.

There is surely enough material in the current political class – Michael Gove, Boris Johnson’s eternal rivalry with David Cameron, Ed Balls, the never ending evil that is Rupert Murdoch – to inspire great satire? Perhaps it’s simply a case of “could do better, must try harder.”