Comedy Dave - dayline.info forum
It's so good to have @ChrisMoyles @domisatwit and @davidvitty back on the to brush over the absence of Comedy Dave, Moyles' former sidekick and the. On Friday 18 March at Chris Moyles and Comedy Dave broke the Moyles launched a new show on Channel 4, called Chris Moyles' Quiz Night on . in his biography Moyles goes on to say that he mended his relationship with. 3. In the media. 4. Comedy Dave gets his skates on .. and his comedy partner Chris Moyles on BBC Radio . genres of events management, public relations, advertising, video, radio, television, .. Melbourne test, and New Zealand. Andrew.
However, Moyles generally accepts counter-attacks in the same manner and routinely derides himself for being overweight and so forth, often in the lyrics of jingles.
Many of his show's features are homages to or exaggerations of other radio features. It became one of the most popular requested parodies, and was often played more than once during the course of a show. At the time of its release, it was the fastest selling download on UK charts. In the same month, he performed a parody of Hellogoodbye 's hit " Here " called "Beer in My Arms" in which he describes how much he really dislikes the song, calling it 'daft'. Moyles also covered Puretone " Addicted to Bass " with "Addicted to Plaice", which covers the subject of being addicted to fish.
In Septemberhe performed "Suicidal" a parody of the UK number one Sean Kingston 's "Beautiful Girls", in which he talks about how the song makes him feel suicidal and wonders why it reached number one. Although ofUK's chart no. Comedy Dave wrote the song, and Paul Daniels asked for it to be made into an MP3 file after hearing it on air.
It was a parody of the Kings of Leon song " Revelry ". In AprilMcGee recorded a reply which was played on air and was a parody of the same song called Dreaming of Moylesy. This song has an approved record deal to be used on a parody album, should Chris wish to do so.
Recording began in September and the album was released on 23 November. Slimani recorded the single after having a 'vision' that England won the World Cup and that in the celebrations, commentators made reference to his song. The single debuted, Monday 8 February Controversies[ edit ] Moyles has come into conflict with the Broadcasting Standards Commission and Ofcom. These have occurred during his time at both Capital FM and Radio 1. For example, these regulatory bodies upheld complaints when Moyles threatened Dr Fox in October with the claim that "I'm gonna tear his head off and poo down his neck";  and also in earlywhen he said "he would take the virginity of Charlotte Church ", when she reached sixteen.
Moyles retorted that Peel was a " Kenny Everett -in-waiting, because Kenny Everett's dead and it's only a matter of time before John pops his clogs". In SeptemberMoyles, along with other British radio presenters, was criticised for on-air promotion of drinking to excess. He made the outburst while teasing a mother-of-three from Newcastle during an on-air feature which her children had interrupted.
The BBC was later cleared by broadcasting regulator Ofcom over the incident. In Julycommunications watchdog Ofcom found Moyles in Breach of rule 1. A listener objected to an item in which the presenter discussed people who urinated in the shower. He considered that the presenter's reference to women who did this as "dirty whores" was unacceptable at this time of the morning. BBC staff were striking over recently announced job cuts.
This led to a number of complaints to the BBC. Moyles was not being homophobic. Sorry, it just does my head in. We have a token gay on the show!
Chris Moyles - WikiVisually
Moyles was censured by Ofcom following eight complaints made after a broadcast on 20 January in which he told listeners it was the birthday of Will Young and then went on to sing " Evergreen " and " Leave Right Now " in a high pitched and effeminate voice, changing the lyrics to references to Young's sexuality.
Ofcom stated that the language used could have been "interpreted by listeners as promoting and condoning certain negative stereotypes based on sexual orientation" and whilst acknowledging the intention was to be humorous in their opinion it could have been perceived as hostile and pejorative.
These are the people present who are potentially within the participation framework of the broadcast talk: Here, things look rather different: Star Sidekicks 1st person narratives 1st person narratives Teasing and ridicule Reaction work laughter etc Pranks and practical jokes Other support work endorsing ridicule etc Boasting On-air, Chris Moyles is the star, needless to say; all the rest are his sidekicks.
The other activities are far less evenly distributed. I do not wish to imply here that Chris Moyles does not participate in the laughter. On the whole, the star initiates, the side- kicks react.
McFly On McFlyday 3. Will you sing along Tina? I er- b- er Yeah 5. I thought you nailed it 9. Shall we have a little sing-along?
Not on my own Tina [singing slightly off-key]: Instead he records her singing in line A good deal of mockery en- sues, including some from listeners, whose texted remarks are read out by Dave Vitty: Beautiful [mimicking, wailing as if in pain] uuh Why would anyone do that?
These segments of the broadcast were relatively formal; highly conventional in delivery, in fluent and articulate professional newsreader voices.
I take up transcription again at the point Tina performs two self-repairs lines 28 and He does this initially with mimicry of her singing, then with mocking repetition of her pronunciation error both in line 31then a replay of her singing line Her complaint line 33 elicits more of the same: As soon as he finishes the weather report, the mockery resumes: Tina sounds like the wookie off of Star Wars The ridicule of long- suffering Tina develops as a co-production: Can you imagine- Can you imagine karaoke with Tina?
No I want singing lessons You are rubbish Twelve quid an hour The world has Of course, the boasting is made ludicrous in the extreme by exaggera- tion. Every programme listing is a fanfare: Chris Moyles returns to this episode repeatedly throughout the broadcast.
Moreover, a segment of the wind-up is used later in the day as a trailer for the breakfast show. From its use in this way, it is clear that it is being used to represent the spirit of the show: I have focused here on a twenty-minute segment from a single broadcast.
In it, a woman reading sports news is the butt of humour. I selected it from a sample of six breakfast shows that I recorded and listened to over a space of six weeks.
From that listening, I would say that quite aggressive humour is common, but there was only one other lengthy segment where one person was singled out as the butt for prolonged ridicule. It was again Tina and it took place the morning after the award ceremonies. I did not select that broadcast for close attention because the broadcast talk was virtually impossible to transcribe.
Tina was allegedly given permission to sleep off a hangover in the studio. The potential offen- siveness of the texts was gleefully exploited. The teasing for being hung-over continued for the rest of the broadcast. I have been attending to a radio broadcast before the watershed, where the par- ticipants are mindful of potential breaches to Ofcom regulations specifically 1.
On the basis of a similar sample of viewing of this odd hybrid of chat show and quiz show, there seem to be fewer constraints on the potential for wind-up scenarios than on daytime radio. There is a female guest-contestant most weeks and she is invariably heavily sexualised.
On another, the actor Billy Piper appeared to be dying of embarrassment as some sexually ex- plicit scenes were screened, to a very vocal, leering audience on stage and off, from a television drama in which she played a prostitute. But how seriously should we take it?
Chris-Moyles | Revolvy
He is occasionally teased about his weight, or more specifically his multi- ple chins, as his fans are quick to point out. We are not supposed to take it, or him, seriously. But if it really is the case that the professional identities of women work- ing in the media are being systematically undercut within the zoo media format, then how could we possibly do otherwise?
Of course, asking how seriously we should take media representations begs the question of how much influence they have, for which there is no ready answer. Now Chris Moyles is no shock jock; his shows are low key, tame perhaps, in comparison to the toxic discourse that Turbide et al investigate.
Yet he does have celebrity status and his discursive style in hosting primetime radio and TV shows puts into circulation particular patterns of interaction that are liable to be nor- malised. His celebrity status imparts influence, since a discourse of celebrity per- vades media discourse and informs our understanding of the social world beyond the media: Mass media images and representations of famous people, stars and celebri- ties are vehicles for the creation of social meaning.
A celebrity always rep- resents more than him- or herself. So celebrity conveys, directly or indirectly, particular social values, such as the meaning of work and achievement, and definitions of sexual and gendered identity.
But the samples of zoo media I had looked at suggest that the dis- cursive space women occupy there is severely limited. The mas- culine identity that Chris Moyles offers for daily consumption today sounds every bit as smug, self-satisfied and superior. The plural vocalities of radio talk. Discourse and methodology in social research and cul- tural studies pp. Doing gender in engineering workplace cultures. Observations from the field. Engineering Studies, 1 1 Gender and the media. Moyles says kids love me, not Evans.
Accessed June 4, Television discourse in a chang- ing Europe.