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"I can't think of a comedy that so perfectly captured a moment of change in social history," he reflects. He listened to radio comics and has fond memories of Sunday lunch with Round the Horne. What saved him on the mean streets of south London was an encyclopaedic knowledge of pop music, and an ability to tell jokes. "If I'd gone to the local comprehensive, I'd have had my head kicked in for being overweight, not good at sport, and queer." "I encountered the middle classes for the first time when I went to grammar school two bus rides away," he recalls. Medhurst's roots lie south of the Thames, in Docklands.
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He's uneasy about the "self-satisfied assumptions" of a city that increasingly sees itself as London-on-Sea, "but only certain parts of London. But he resents the way people there routinely talk about northerners "with a contempt that they would never bestow on Asian people". He accepts that he has joined the middle class, and enjoys the tolerance afforded him and his partner in Brighton. Medhurst wears his allegiances on his sleeve.
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Later entries drove Grayson and Hall apart but, as Medhurst puts it in chapter three, "this book remains an attempt to eavesdrop on the conversation they might have had if they had been left side by side".Īs with any discussion about Englishness, class is the issue. When he was assembling his bibliography, the serendipities of the alphabet placed Larry Grayson - "once the most unjustly vilified of English queer comedians" - next to Stuart Hall, "the single most influential voice in the development of the field of cultural studies". But comedy gives you a mythology that helps you to smooth out those differences." Or, as he puts it in the introduction to the book, "it contributes significantly to how English culture has imagined its Englishness". "There are differences within the regions. In A National Joke, Medhurst spans the 20th century, from music hall to The Royle Family, and uses comedy to pin down that most elusive of things, the English national identity. Like Chubby, he was a very talented joke-teller but less aggressive, more laid-back - a bit like Les Dawson with added racism." His act was a bolthole for audiences refusing to acknowledge the changes around them. He was trying to hold on to a world where white people were in control. Much the same used to be said about Bernard Manning, I suggest. He says things that they've been told they can't say and, because of that, he's a hero to them." He sticks up two fingers at the liberal-progressive consensus, and stands up for the white, predominantly northern working class that Tony Blair liked to pretend doesn't exist any more. Then why is Brown so important? "He gives a voice to people who don't have one. There was an assumption that everyone in the audience was heterosexual." It was the enthusiastic reception of the joke, I suppose. It was just after Kenny Everett had died, and a homophobic joke drew me out of my enjoyment of his astonishingly skilful technique. "Saw him in Great Yarmouth, and he was suitably bracing." Uncomfortably so, at times? "Yes. But has he ever seen Chubby Brown live on stage? "I have," he says, leaning back in his rather cramped office where academic tomes rub spines with enough videos to stock several charity shops.