the dial is now upon the prick of noon"; and in Hamlet, Hamlet publicly torments Ophelia with a series of sexual puns, including "country matters" (similar to "cunt"). The title of Shakespeare's play Much Ado About Nothing is a pun on the Elizabethan use of "no-thing" as slang for vagina. In the UK, starting in the 19th century, Victorian morality disallowed sexual innuendo in the theatre as being unpleasant, particularly for the ladies in the audience. In music hall songs, on the other hand, this kind of innuendo remained very popular. Marie Lloyd's song "She Sits Among the Cabbages and Peas" is an example of this. In the early 20th century restrictions were placed on lewdness in performances, including some prosecutions. It was the job of the Lord Chamberlain to examine the scripts of all plays for indecency. Nevertheless, some comedians still continued to get away with it. Max Miller had two books of jokes, a white book and a blue book, and would ask his audience which book they wanted to hear stories from. If they chose the blue book, he could blame the audience for the lewdness to follow (in the UK, "blue" colloquially refers to sexual content, as in "blue jokes", "blue movies" etc.). Radio and television In the United States, innuendo and double entendre were only lightly used in radio media until the 1980s when the Howard Stern Show began to push the envelope of what was acceptable on the radio through use of double entendre and ironies. This garnered so much attention it spawned an entire genre of radio called "shock jock radio" where DJs will push the limits of what is an "acceptable" double entendre to use over-the-air as the Federal Communications Commission has been known to hand out large fines for the use of double entendre on radio if they deem it to be in violation of their standards. In Britain, innuendo humour began to transfer to radio and cinema in the late 1950s. Particularly significant in this respect were the Carry On series of films and the BBC radio series Round the Horne; although some of Round the Horne appeared to be nonsense language, the protagonists were sometimes having "rude" conversations in Polari (gay slang). Round the Horne depended heavily on innuendo and double entendre, the show's name itself being a triple entendre, a play on the name of its central actor