"Well, that's great, isn't it? Racial discrimination, even in death!"
Mayall slapped the lefties in the face with the wet fish of mirth and ridicule with his portrayal of Rick, whose love of Cliff Richard was a subtle allusion to a secret reactionary stance and the possibility he's just an adolescent who will end up as a Tory Grandee when he is older. Rick was a send up of the trendy lefty student, much Like Student Grant was in the 1990's.
But trendy lefties were not the only target, as Alan B'Stard shows. The excesses go both the eighties and Thatcherism were writ large and refracted through the "Do What Thou Will Shalt Be The Whole Of The Law" ethos of the time being taken to grotesque proportions before the wet fish of mirth was forcefully applied. B'stard's Machiavellianism was really funny in his battles with Piers Fletcher Dervish, such as B'Stard explaining how a hot seat works. This was the Pierrot and August tradition reinvigorated and made to show how politics can demean people, yet it was just a form of slapstick on steroids, a theme that ran through Mayall's work from the beginning.
From The Dangerous Brothers, right the way through towards Bottom, I laughed at the punches being thrown and teeth knocked out and if you can get drunk on laughter, I would have been having a Glaswegian Siesta in the local police station's drunk tank. I even thought to myself: "If Biffa Bacon was on television, it would be Called Bottom."
Thanks People's Poet, whoever you were.