Let's call a bigot a bigot

Some people need offending.

Things have reached a slightly ludicrous situation when a gay rights group can be patronised for labelling as "bigots" those individuals who have gone most out of their way not only to prevent gay rights becoming a reality but also to viciously insult and ostracise the entire homosexual community.

Nelson Jones tells Stonewall to “grow up” and calls its Bigot Of The Year award “offensive and out of date”. To whom could the award be construed as offensive? The bigots it describes? That is unfortunate but something with which they will have to live. They will continue having to live with it if they insist on calling gay marriage “a grotesque subversion of a universally accepted human right” or, in pathetic attempts to attract sympathy, comparing their objection to gay marriage to the persecution of the Jews in Nazi Germany. If they cease to make such crass and ignorant statements they may find themselves not being described as bigots. Nick Griffin is probably offended when people call him a racist; he's still a racist.

Nelson Jones is also mistaken when he describes as “abuse” what Stonewall are doing through their Bigot Of The Year award. It seems immediately apparent that – much like the New Humanist's Bad Faith awards – Stonewall are with an ironic smile and a sense of humour highlighting the people who have done most to retard the gay rights situation. If you want a glimpse into what abuse is, read Martin Robbins' Guardian article "Gay marriage "Nazis" and the disgrace of Lord Carey". In staging its award Stonewall are fighting against a society that has been intolerant of homosexuals for thousands of years, and they are doing so with great dignity and wit. They are also, I'm happy to see, yet to apologise for the award despite hysterical outcries from clerical spokespeople.

Let's look at the word 'bigot' and see whether or not it can be accurately applied in this instance. A bigot is someone who “regards or treats the members of a group … with hatred and intolerance”. He has attempted to raise £100,000 in order to oppose same-sex marriage and compared it to slavery: if 'bigot' doesn't accurately encapsulate Stonewall's victor, Cardinal Keith O'Brien, I don't know who else it could. Nelson Jones seems perfectly happy to describe as a bigot a Chief Constable from over 25 years ago – and rightly so – but why is he afraid of being consistent in this case? A large reason is of course the religious element of the condemnation. If we were to take religion out of the equation, thereby confining to the closet the kid gloves with which it is handled, O'Brien would not be receiving the same level of support and excuse-making. Given that he is in a position of religious authority, many – including, it seems, Nelson Jones – wish to turn down the volume on criticism of O'Brien and interpret his statements in a peculiarly neutral light. This does not advance the gay rights position and encases O'Brien in the cushions in which he has been cocooned for 74 years.

A spokesman for the Catholic Church said that Stonewall “promoted terms like "bigot" and "homophobe" relentlessly in order to intimidate and vilify anyone who dares oppose their agenda”. Given that Stonewall's agenda is the battle to secure equal rights for gay people, I don't think that they can be criticised for responding passionately and with wonderful irony towards the very people keenest to see gay rights suppressed and gay behaviour demonised. If you want a discussion on language, note here its slithery usage – anyone who "dares" oppose the laudable agenda of a group representing a persecuted minority. A homophobe is someone who fears or hates homosexuals; if the word cannot be used in instances like these, when can it possibly be used? Try being told for thousands of years that loving a member of the same sex means that you are an "abomination" and should be killed, and see if "bigot" or "homophobe" are the strongest terms that spring to your lips.

Religious figures like Keith O'Brien cannot expect to be ignored for expressing hateful and outdated opinions. He is perfectly entitled to speak his mind concerning the legal recognition of the love shared between two members of the same sex; and he is perfectly entitled to be called a bigot if what emanates from his mind is extremely bigoted.

Stonewall's award may be offensive but it offends all of the people who most urgently need offending.

A flag at a gay pride festival. Photograph: Getty Images
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Brexit confusion is scuppering my show – what next?

My week, from spinning records with Baconface, Brexit block and visiting comedy graves.

I am a stand-up comedian, and I am in the process of previewing a new live show, which I hope to tour until early 2018. It was supposed to be about how the digital, free-market society is reshaping the idea of the individual, but we are in the pre-Brexit events whirlpool, and there has never been a worse time to try to assemble a show that will still mean anything in 18 months’ time.



A joke written six weeks ago about dep­orting eastern Europeans, intended to be an exaggeration for comic effect, suddenly just reads like an Amber Rudd speech – or, as James O’Brien pointed out on LBC, an extract from Mein Kampf.

A rude riff on Sarah Vine and 2 Girls 1 Cup runs aground because there are fewer people now who remember Vine than recall the briefly notorious Brazilian video clip. I realise that something that gets a cheer on a Tuesday in Harrogate, or Glasgow, or Oxford, could get me lynched the next night in Lincoln. Perhaps I’ll go into the fruit-picking business. I hear there’s about to be some vacancies.



I sit and stare at blocks of text, wondering how to knit them into a homogeneous whole. But it’s Sunday afternoon, a time for supervising homework and finding sports kit. My 11-year-old daughter has a school project on the Victorians and she has decided to do it on dead 19th-century comedians, as we had recently been on a Music Hall Guild tour of their graves at the local cemetery. I wonder if, secretly, she wished I would join them.

I have found living with the background noise of this project depressing. The headstones that she photographed show that most of the performers – even the well-known Champagne Charlie – barely made it past 40, while the owners of the halls outlived them. Herbert Campbell’s obelisk is vast and has the word “comedian” written on it in gold leaf, but it’s in the bushes and he is no longer remembered. Neither are many of the acts I loved in the 1980s – Johnny Immaterial, Paul Ramone, the Iceman.



I would have liked to do some more work on the live show but, one Monday a month, I go to the studios of the largely volunteer-run arts radio station Resonance FM in Borough, south London. Each Wednesday night at 11pm, the masked Canadian stand-up comedian Baconface presents selections from his late brother’s collection of 1950s, 1960s and 1970s jazz, psychedelia, folk, blues and experimental music. I go in to help him pre-record the programmes.

Baconface is a fascinating character, whom I first met at the Cantaloupes Comedy Club in Kamloops in British Columbia in 1994. He sees the radio show as an attempt to atone for his part in his brother’s death, which was the result of a prank gone wrong involving nudity and bacon, though he is often unable to conceal his contempt for the music that he is compelled to play.

The show is recorded in a small, hot room and Baconface doesn’t change the bacon that his mask is made of very often, so the experience can be quite claustrophobic. Whenever we lose tapes or the old vinyl is too warped to play, he just sits back and utters his resigned, philosophical catchphrase, “It’s all bacon!” – which I now find myself using, as I watch the news, with ­depressing regularity.



After the kids go to sleep, I sit up alone and finally watch The Lady in the Van. Last year, I walked along the street in Camden where it was being filmed, and Alan Bennett talked to me, which was amazing.

About a month later, on the same street, we saw Jonathan Miller skirting some dog’s mess and he told me and the kids how annoyed it made him. I tried to explain to them afterwards who Jonathan Miller was, but to the five-year-old the satire pioneer will always be the Shouting Dog’s Mess Man.



I have the second of the final three preview shows at the intimate Leicester Square Theatre in London before the new show, Content Provider, does a week in big rooms around the country. Today, I was supposed to do a BBC Radio 3 show about improvised music but both of the kids were off school with a bug and I had to stay home mopping up. In between the vomiting, in the psychic shadow of the improvisers, I had something of a breakthrough. The guitarist Derek Bailey, for example, would embrace his problems and make them part of the performance.



I drank half a bottle of wine before going on stage, to give me the guts to take some risks. It’s not a long-term strategy for creative problem-solving, and that way lies wandering around Southend with a pet chicken. But by binning the words that I’d written and trying to repoint them, in the moment, to be about how the Brexit confusion is blocking my route to the show I wanted to write, I can suddenly see a way forward. The designer is in, with samples of a nice coat that she is making for me, intended to replicate the clothing of the central figure in Caspar David Friedrich’s 1818 German masterpiece Wanderer Above a Sea of Fog.



Richard Branson is on the internet and, just as I’d problem-solved my way around writing about it, he’s suggesting that Brexit might not happen. I drop the kids off and sit in a café reading Alan Moore’s new novel, Jerusalem. I am interviewing him about it for the Guardian in two weeks’ time. It’s 1,174 pages long, but what with the show falling apart I have read only 293 pages. Next week is half-term. I’ll nail it. It’s great, by the way, and seems to be about the small lives of undocumented individuals, buffeted by the random events of their times.

Stewart Lee’s show “Content Provider” will be on in London from 8 November. For more details, visit: stewartlee.co.uk

This article first appeared in the 27 October 2016 issue of the New Statesman, American Rage