Deaw 12

Popular comedian Udom Taephanich reported to police in Kanchanaburi yesterday after a defamation suit was filed against him by Preecha Kraikruan. Preecha hit the headlines in 2017 after falsely claiming that he had won the lottery, and Udom joked about this in his twelfth stand-up comedy show, filmed in 2018.

The show — Deaw 12 (เดี่ยว 12) — was released on DVD and is streaming on Netflix. Preecha apparently only recently realised that he was the butt of Udom’s jokes, hence his libel lawsuit filed seven years after the show was recorded. In a satirical song (part of the encore, which is not included in the YouTube video of the show), Udom rapped:

“Preecha claimed the lottery was his...
It’s easier to tell lies
Than admit the truth”.

This is the third legal case against Udom. Last year, he faced lèse-majesté charges after a routine about the ‘sufficiency economy’ in his Netflix special Super Soft Power (ซูเปอร์ซอฟต์พาวเวอร์). (In that show, he didn’t challenge the notion of sufficiency economy itself; instead, he criticised the hypocrisy of influencers who falsely claim to adhere to sufficiency economy principles.)

In 2022, he was accused of endangering national security following his mildly satirical riff about military leaders Prayut Chan-o-cha and Prawit Wongsuwan. (Comparing them to unqualified pilots, he suggested that they should resign: “both of you, the pilot and copilot, please eject yourselves from the plane.”)

Naya Bharat (‘new India’)

Indian comedian Kunal Kamra is the subject of a police investigation in the state of Maharashtra after he criticised a politician from the region in his stand-up show Naya Bharat (‘new India’). Kamra performed a few satirical songs during the set, and they appeared with karaoke-style subtitles when he uploaded a video of the show to his YouTube channel on 23rd March. He was charged with defamation on the following day.

The lyrics to one song, a parody of the theme to the Bollywood film Dil To Pagal Hai (‘the heart is crazy’), include the word ‘gaddar’ (‘traitor’), in an oblique reference to politician Eknath Shinde. After footage of the performance circulated online, a mob of Shinde’s supporters ransacked The Habitat, the Mumbai studio where Kamra had recorded the live show. A spokesperson for Shinde’s political party Shiv Sena has called for Kamra’s arrest.

The Habitat was also the venue for another controversial comedy last month, when an episode of the podcast India’s Got Latent was recorded there. A guest on the show, Ranveer Allahbadia, asked a contestant: “Would you rather watch your parents have sex every day for the rest of your life, or would you join in once and stop it forever?” The episode was released on YouTube on 10th February, and multiple police complaints were filed against Allahbadia. India’s Supreme Court described Allahbadia’s question as obscene on 18th February, though it stopped short of filing criminal charges against him.

In a similar case in 2021, Ashutosh Dubey, an adviser to India’s ruling Bharatiya Janata Party, filed a legal complaint against comedian Vir Das in relation to a live performance in Washington D.C. Das recited his poem Two Indias at the John F. Kennedy Center for the Performing Arts on 12th November 2021, and uploaded it to YouTube four days later. As he predicted in the words of the poem itself, “I come from an India that will accuse me of airing our dirty laundry”.

Censored!Stage, Screen, Society at 50

Theatre censorship in the UK was abolished fifty years ago, and London’s Victoria and Albert Museum is marking the anniversary with Censored! Stage, Screen, Society at 50, an exhibition devoted to UK censorship. The exhibition covers theatre, film, music, and media censorship, with exhibits including the 3rd June 1976 issue of Gay News (no. 96, containing James Kirkup’s poem The Love That Dares to Speak Its Name about a Roman centurion’s sex with Christ after the crucifiction) and the ‘School Kids’ issue of Oz (no. 28, which was the subject of a long-running obscenity trial in 1971). Censored! opened on 10th July, and runs until 27th January next year.

Denis Lemon, editor of Gay News, was convicted of blasphemous libel in 1977, following a private prosecution instigated by Mary Whitehouse. A handful of socialist magazines — Anarchist Worker (no. 33, February 1977), Peace News (28th January 1977), Liberator (January 1977), and Freedom (23rd July 1977) — reprinted Kirkup’s poem in solidarity. It was also included as a single-page insert in the 14th July 1977 issue of Socialist Challenge (no. 6), and was reprinted in the San Franciso magazine Gay Sunshine (no. 38–39, Winter 1979). The socialist journal Gay Left (no. 5, Winter 1977) published extracts from the poem, along with an ambivalent analysis: “It is a rather silly poem. It is at times an amusing poem. It is from start to finish an extremely “literary” poem.” Inoffensive extracts also appeared in The Observer (on 17th July 1977), which coyly explained that “the centurion kissed Christ’s body.”

Geoffrey Robertson was a defence barrister in the 1977 trial, and his memoir The Justice Game includes lengthy extracts from the poem, including one stanza “which the judge suggested was so profane not even I would read it aloud”. Reflecting on this, Robertson writes: “after two decades, I wonder whether the reason I could not read it was the awfulness of the poetry rather than the grossness of the blasphemy.” Alan Travis included the same extracts in Bound and Gagged, his history of obscenity, and they are also reprinted in A Voyage Round John Mortimer, Valerie Grove’s biography of the barrister who defended Gay News in court.

The twenty-fifth anniversary of the prosecution revived interest in the case. An analysis in Gay Times (no. 270, March 2001) dismissed any potential literary merit: “The poem itself is tawdry and insignificant.” The Guardian (11th July 2002) was equally dismissive: “as a poem, it’s feeble in the extreme.” Joan Bakewell recited extracts from it in an episode of her BBC2 documentary series Taboo (broadcast on 12th December 2001), and the socialist magazine Weekly Worker (no. 423, 14th March 2002) defended her right to do so. (Extracts later appeared in the Channel 4 documentary The Secret Life of Brian, broadcast on New Year’s Day 2007.) The Weekly Worker reprinted the first four stanzas, though declined to offer any literary criticism: “Whether or not it is a good poem or bad poem I will leave to the reader to decide.”