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Bokep Indo. In the live show, last year, there was a routine involving an England flag covered in cat diarrhoea, and the cat responsible was called Paul Nuttall From UKIP.

In the TV show, the cat's called Jeremy Corbyn. Why the switch? Then within two weeks of the election, that whole routine fell off a cliff, because no-one was the least bit interested in him, or could remember who he really was.

And I thought that was a shame, cos it was a good half hour, that. I did it one last time, at the start of September in a pub in Kingston, to prove to myself that it wasn't working.

But then, that week, Corbyn got in trouble for not going to the rugby match, and not singing the national anthem. So, ideas of national identity are still such a big deal, but they're not attached to UKIP now.

They're attached to attacking Corbyn. So I thought, how can I bring him into the same story? SL: I think he's an object lesson, in the way that the press have decided that whatever he does, they'll tear it apart.

Just when I was starting to root for Cameron, when he was standing up for Europe, the next day he was really really pathetically rude to Corbyn in Parliament.

Corbyn's like this weird Christ figure whose very presence reveals everyone else to be horrible cunts. But, you know, he is a Eurosceptic and I'm pro-Europe, and I'm not convinced about his defence position, all sorts of things.

But it's nice that our children will grow up with an experience of what the Left meant. The new series contains possibly the most avant-garde thing you've done so far.

There's a routine about the columnist Rod Liddle always looking like he's got food on him, and it ends with you just making a chomping sound into the microphone for five minutes, like Paul McCartney chewing celery on 'Vega-Tables' by The Beach Boys.

And you've somehow got that onto national BBC television. SL: That's partly what I hope people will find funny about it.

Not the thing itself, but the fact that it is on television. You know what's sad about that is, I filmed the shows in December, and all the dates had sold out so I added some more in January and February, but most of the routines peaked around the time I filmed it for telly.

One, sadly, went off the boil round about September and I couldn't get it back, so I had to let it go.

But one got better. And the one that got better was that one. I worked out how to time it, to make it funnier, even though there's no words in it.

SL: That's what I want, you know? In the first series I managed to get them to make trailers that were all silent. But they won't do it again, so I'm trying not to give them any.

They haven't noticed, though. Another thing that makes it even funnier is that Rod Liddle isn't even a towering cultural figure, really.

It's not like he's Katie Hopkins. A lot of people won't really know who he is. SL: There's something funny about it being Rod Liddle, where people will think 'I'm not actually sure who he is, and why has he got food on him?

It doesn't really matter either way. And the other thing with that is, when you make a joke about politicians, what happens is that all those bloggers and those people in The Daily Telegraph and The Times , they all go online.

And the worst one is Tim Montgomerie, who has no sense of humour whatsoever. No-one would think this. No-one would think that, it's for comical effect.

So he's the one with the biggest power and the least grasp of nuance. But if you do a joke, you go der-ner-ner-ner-ner-ner-ner, ner-ner-ner-ner-ner, bang-bang , about the news, then they go mer-mer-mer-mer , picking it apart in a sneery way.

Because they don't have a sense of fun, or of the absurd, any of those people, it means that what they absolutely can't cope with is something about food being on one of them, that goes on for ages.

Because they sort of think, 'Ah yes, what's this all about? For all the boundary-breaking stuff you do, it can't be denied that a lot of what you do involves gross-out humour, giving people permission to laugh very easy laughs.

The dog's cock in your face, vomiting into the gaping anus of Christ, and so on. In lieu of zingers and one-liners, there is that stuff, for lo-com-denom laughter.

SL: Well, yeah, but normally it's connected to some sort of idea. I dunno, we'll see what happens next. Every series feels like I've got to the end of a particular idea.

But there is also a small but significant extent to which you're a catchphrase comic. For example, there's a bit where you're talking about someone collecting mini pots of jam, and you say "He likes all the different types of jam SL: You know what, it's interesting you mention that, because originally I was saying, 'He likes all the different types of jam If I do that, get in touch with me and I'll give you a writing credit.

Because the idea of 'plain jam' really made me laugh. Cos what would it be? Just gelatine of some sort.

But my dad did really like jam. He used to be a rep for a cardboard company, and he spent a lot of time in hotels, and he would being all the little pots of jam back.

He never bought jam, but always had a lot of small pots of jam. I'm the same. I've got enough shampoo for ever, now. It's as if you're giving people reward points for loyalty, if they get the little in-joke.

The producer wanted to cut that bit, cos he thought it was only funny if you knew the other one. But I thought 'plain jam' was funny anyway.

Of course, you also play with the idea that the audience don't follow what you're doing at all, and are unreceptive to it. That becomes part of the plot, almost.

SL: I noticed the first few pieces about the telly show, a lot of them have picked up on how in the first episode I say something about how the room's cold and unfriendly.

And they've written 'He does well, despite what he admits is a cold, unfriendly room. I have to offer up this story, saying, 'I can see you're uneasy.

To put you at your ease, I'll tell you why I genuinely like Graham Norton Because if it looks like he intended to say it, it would look really gratuitous.

But if you accidentally end up in a position where you're pretending to be James Corden spitting on the prostrate body of Graham Norton, but it wasn't your plan, that's sort-of acceptable.

And you have to give them permission to laugh again. It's become a critical term, that phrase, 'permission to laugh', and I'm not exactly sure where it came from.

But I have to pretend that the room is a struggle, to allow me to do that. And you'd think, if you watched it, that would be obvious to a critic, because it sets up the next bit.

That Graham Norton bit reminded me of Columbo , in the sense that from the moment you say you're really pleased for Graham Norton, we all know where it's going to end up.

But the fun is in seeing how you get there. SL: You know what, right. I don't watch much telly, but in the last two years I've watched every single episode of Columbo.

My wife loves it, and she said 'You've got to watch this. I think he's absolutely brilliant, Peter Falk. What a hilarious actor and what brilliant writing.

So yeah, exactly that. In the first five minutes, you know who the murder is, and you know that he knows. So, I'd never thought about it but yeah, I suppose it does what stand-up does.

You know what the end of the joke is, so how's he gonna get there? I like the fact that Columbo , almost in a postmodern way, destroys the idea of what a whodunnit's supposed to be.

Because it shows you who did it! Also, normally the woman or whoever's done it will say something in the first three minutes and he'll raise his eyebrow, so you know he knows it's her.

Also, you know there's a lot of improvisation in it? And I looked it up online and he'd just say things to people. Like, 'That's a nice coat you've got there, where'd you get it?

Columbo would do. He just throws in random questions all the time, and you can see them behaving really weirdly. But Columbo was already at it a whole decade earlier.

And it's in Chaucer. In a way, this is true of everything: if you knew more about it, you'd have given up.

Cos you'd realise it had all been done. The device of the Unreliable Narrator, which you employ via the onstage 'Stewart Lee', is also something that works well in pop.

An obvious example being 'I'm Not In Love' by 10cc. Clearly something's gone really wrong, but she's saying she's really glad to be going, 'LA is a great big freeway I love that stuff.

I've seen you quote the comedic poet John Hegley regarding a workable business model for performers such as yourself, whereby you only need a small but loyal fanbase to sustain a living.

SL: When I was trying to start again, he said to me, and it was a really low number, something like 5, people.

Like a lot of things, once I'd given up any personal ambition is when it started to work. Like the bloke in The Shawshank Redemption who, when he doesn't want parole, they give it to him.

And in , when I'd been on telly in the Nineties, and I'd co-written and directed this Olivier Award-winning musical thing that didn't work out, I thought it's too late to do something else, so I thought about what I could do to cut things down and pare it back, and aim for that 5, model.

Also, I'd just discovered Myspace. Which sounds hilarious now, but if you could get 5, Myspace fans, and get them to follow you, that seemed sort of do-able.

And also, I realised that a lot of the bands I like, they've always got a CD to sell, and they probably see more on that than the one that's been released by Virgin Records or whatever.

And I'd come back every year with a mainly different set, maybe one of the hits. And it seemed like, if you saw the business model as being like The Fall, rather than some big massive band, then weirdly you could keep going.

A more flippant approach, which I've also seen you quote, is that the ideal situation is to whittle away your audience down to the size where you can just stop the show and go to the pub.

SL: Oh, that was probably Kitson. Really, Daniel Kitson's what people think I am. He really doesn't do press at all, and he doesn't go on anything, or engage with anything at any level.

And yet he will sell out six dates at the National Theatre. You joke, in the TV show, that you hope it doesn't get recommissioned.

And while I don't imagine for a moment that you actively wish to fail, is there a natural ceiling for what you do? Above which the whole thing would waver, falter and crumble?

SL: Well, I can deal with writing a live show that's one of the story shows, with the music and the sets and all that.

I can deal with that. But if they recommission another series, I won't do that other thing. So I'd be doing something that's not quite what I ought to be doing, creatively, and I'll do it because the days when the BBC will pay you to make something are probably on the way out, anyway.

And I've got the kids now, I've got a pension plan, I've got a house, I've got collateral. That's another thing that's changed the character: he's not living in a flat above a shop any more.

So one of the reasons I'll carry on is for the kids, because I worry about what would happen to them.

Between us, my wife, Bridget Christie, who's also doing well, we've had a good two or three years. But anything could happen. Suppose that ATP thing did fall apart, and people go 'Oh, you did that.

Financial advantage is increasingly a factor in the arts. The independently-wealthy are taking over, after a Post-War window of relative meritocracy.

People like Julie Walters and Laurence Fox have spoken out, on different sides of the debate. What do you make of that? SL: I'm an interesting part of this problem.

First of all, you have to be a little bit careful about it. Bob Mortimer's been sounding off about how he's looking forward to the film Grimsby , 'Some Oxbridge private schoolboys' take on the working classes' or something.

Who's from Cardiff, and who left school at 15 to join the Merchant Navy. So, on average, they're less posh than Bob Mortimer.

I can see things from all different angles, which I think shows itself in my act, in a weird way. I've got a chip on my shoulder, about not being privileged.

But I'm also privileged, in that I got a part-scholarship and a charity bump into a private school. And I went to Oxford, at a time when you could get a full student grant.

And it felt not-impossibly-exceptional that different types of people would be there. So on the one hand, I'm within spitting distance of the kind of education that people like Cameron had.

In fact, I wrote a long routine where I pretended I was friends with him. Which is sort of interesting, because it's almost conceivably true.

But then the actual circumstances of my childhood are nothing like that whatsoever. Also, this is a big thing, but being adopted, you feel like you have a slight disconnection from society.

You understand that if the dice had rolled differently, you could be anywhere. So I'm able to move through it and see it from different sorts of places, and that's the privileged position to be in.

But I did a talk at Oxford Brookes University recently and someone said, 'How can we stop Oxbridge dominance of the arts?

So, class is not a defining thing for me, but it's gonna get worse. It's not just about going to public school.

It means their parents had 15 grand a year spare. Which means that when they're asked to do an unpaid internship in London, they can afford it.

So it doesn't actually tell you that the school does that, but it shows there's a correlation to wealth. And I think it's absolutely, utterly dishonest of someone like James Blunt where he did that stupid thing where the Culture Secretary said there was a social imbalance in the arts, and James Blunt called him 'a classist gimp'.

It's obvious when you look at it: the support networks that got a generation of people through it, like squats, and student grants, have all gone.

We've got this whole thing where London celebrates punk rock this year, as if it's some part of our heritage. But it fundamentally would never have existed, in this city now.

Because it's the music of cheap accommodation. It's utter hypocrisy. SL: I have. If you went to the alternative night with all the weird acts, which 25 years ago was downstairs at the Market Tavern on Islington Green on Essex Road, you'd see Simon Munnery who is the son of a plumber.

Or Johnny Vegas, who is not a member of the upper classes. The same thing now, which is the Alternative Comedy Memorial Society at the New Red Lion, is a very good night, but there's a higher proportion of people whose parents bought them a flat.

Inevitably, because you can't do that sort of stuff that doesn't pay, unless you've got some sort of fallback position.

Is there an argument that an unintended consequence of the Alternative Comedy movement in the Eighties, which blew away the traditional working-class comedians in velvet jackets, was that it paved the way for all this?

SL: A lot of people have said that. It may even have been Alexei Sayle who said it, that you can disenfranchise the working class from comedy just by saying they don't conform to a middle class liberal set of ideas.

That said, in the Nineties and the Noughties, there were all kinds of people on the comedy circuit. You'd go round the country on the gig network and there'd be an ex-soldier and all sorts of people.

But you wouldn't get that now. Partly because for 20 years there was a Jongleurs and a Comedy Store-type club in every town, and they're all closing down now.

It's like when a mine closes, and you see all these guys and wonder how they're going to make their mortgage. That's one of the saddest things of all.

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