#where the fuck is that Python backup post again I need it
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So is Tumblr dying for real this time?
'Cause I ain't going to Twitter or its bootleg clones, fuck that entire noise, and I'm not going to Dreamwidth, that shit barely counts as a functional site and is mostly Russian last I checked.
Is it finally time to start cleaning house and packing up for Pillowfort? Are we genuinely at that point?
#Tumblr#tumblr alternatives#where the fuck is that Python backup post again I need it#what the fuck is a cohost. why can I not have one place for my stupid little interests that isn't ruined by capitalism#like do you have any idea how annoying this is? tumblr is the only site I could tolerate.#do you know how hard it is to find Discords that aren't FUCKING AWFUL#'you need ID to be here' go fuck yourself I am older than you AND all of your mods#croak.txt
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Making this one (1) post so I don’t piss people off. So here’s me writing ASOIAF characters into a bunch of Really Stupid Movies that I like because it’s fun.
MONTY PYTHON AND THE HOLY GRAIL - Oddly this one is tricky. I think the narrative itself probably best fits Dunk and Egg, but I haven’t gotten to read that yet. So obviously Arthur is Robert Baratheon. Barristan Selmy is Lancelot, and I think Bedivere should be Jon Arryn for no real reason other than that it’s funny. Jaime is Galahad because in a theoretical sense they’re both formidable but in a more practical sense, very useless. I don’t know any other edits I would need to make according to this but replacing the rabbit with like. The Hound’s horse. That would be fantastic. And the Black Knight is the Smiling Knight, just because.
BLADES OF GLORY - ok credit to @jackedup180 on this one and also as inspiration for the whole post. So Sansa and Dany get kicked out of international figure skating singles due to getting into a fistfight on the podium and are forced to team up in the doubles division to skate again. This means challenging the throne of the reigning international champs, Cersei and Jaime, who are not fucking but have just as much creepy sexual tension. I’m not kidding this is the actual plot of the movie. Instead of Jenna Fischer’s character, I want Tyrion to be an accountant with zero sexual tension with either of the girls and who Jaime keeps convincing to spy on other teams.
TALLEDEGA NIGHTS - Ultimate Jaimecore. So Jaime is a NASCAR driver who gets dragged into a competition with a younger, gayer driver (Loras) and ends up getting horribly injured and can no longer drive. For some godforsaken reason he was still living with Cersei and her kids and she kicks him and all the kids except Joffrey out of the house and hooks up with either one of the Kettleblack brothers or Taena. Jaime and co have to move in with Genna, who sets about whipping the kids into shape, and Jaime has to learn to drive again, from like Arthur Dayne or somebody. He eventually befriends Loras but decides to race him again anyway.
ANCHORMAN - I’m sure people think I’m lying when I say this, but this is just if JB were local news co-anchors in the 70s. There’s even a scene where they end up in a pit with a bear!
BAD MOMS - Yet another difficult one. Our charming, recently divorced heroine could be Cat if we’re doing exclusively the main series but I think drawing from all eras of Westeros is funnier, so it’s Rhaenyra, with Rhaena and Daella as her backup, taking on Alicent, the head of the local PTA, who is allied with Cersei and Alysanne.
ONE CRAZY SUMMER - Okay I am just saying that Jon and his Nights Watch boys take on the roles of Hoops and company. Sam is the character with the father who teaches children how to set off grenades. Grenn and Pyp are the twins, and Tormund is the kid whose place they’re staying at. Val or Ygritte is Demi Moore’s character. The real estate company they’re fighting is just the fucking Others.
#asoiaf#my posts#a song of ice and fire#monty pyton and the holy grail#robert baratheon#jaime lannister#barristan selmy#jon arryn#sansa stark#daenerys targaryen#cersei lannister#hotd#jb#tyrion lannister#loras tyrell#genna lannister#blades of glory#talladega nights#joffrey baratheon#myrcella baratheon#tommen baratheon#taena merryweather#anchorman#brienne of tarth#bad moms#rhaenyra targeryan#rhaena the lesbian#daella targaryen#alicent hightower#alysanne targaryen
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Good Grief #4 - Lloyd Robinson
Lloyd Robinson has almost twenty years of performance experience as an actor, poet, and musician. He is one of the few performers holding the title ‘Bad Boy Of Spoken Word’, is a multiple slam winner, the reigning Axis slam champion, and qualified for the Scottish National Slam Championship the last three years running.
Lloyd is the host and co-organiser of Edinburgh’s most exciting new-material poetry night, ‘The God Damn Debut Slam’ in the Scottish Poetry Library. He has been featured at many of Scotland’s more popular spoken word events, in particular Hidden Door Festival and StAnza literary festival. He has also independently released an album of spoken word and music, ‘Reclaimed Memories’, has a degree in Creative Writing & Drama, and a diploma in psychotherapy.
Image credit: Perry Jonsson
1. Why, if there was a reason, did you write this poem/these poems?
Catharsis. Therapy. As a tribute to my brother in law who took his own life, and to raise awareness of the very real issue of Male suicide. I have a compulsion to try and ‘fix’ bad situations, but obviously this was unfixable, so writing about it was the closest I could get.
2. Why, upon writing this poem/these poems, did you perform them?
To raise awareness. And to be totally honest, to shock the audience. I want them to be uncomfortable. I want them to remember this material out of everything else they see, and have a newfound respect for the gravity of the subject. Not only that, but suicide is still socially permissible to joke about, and I want people to think twice next time they laugh at it.
3. How does performing this piece change how you look at what happened to you?
It makes me feel more in control after something very chaotic. I like to think that he would like the piece and be proud of me.
4. How do you separate artistic performance from lived personal experience?
Focus entirely on replicating my more successful rehearsals, improving performance and heightening audience reaction. I am making art for public consumption, so I choose that as my focus. Also, quite subconsciously I (for the most part) avoid the ‘I’ pronoun, instead using ‘we’, which gives me a little more distance.
5. Do you find yourself affected negatively by performing this piece? If so, how do you look after yourself?
When I started performing it, I would be somewhat exhausted afterwards. These days though, not so much. It can depend on the audience. If they’re clearly very emotionally affected that has fed into my performance before. I’ve never lost control and become tearful, but I have felt intense.
6. Do you practice any aftercare after performing this piece (either for yourself or audiences)? (E.g., talking to audience members who are upset, taking some time out after your performance to ground yourself, ensuring you perform in places where you feel safe etc.)
I try and be around post-show; I reliably get at least one audience member come up to me afterwards who has been affected by suicide. They always thank me because being bereaved in this manner can completely alienate people and make them feel alone. For that reason I consider it important to perform this piece and make the time for them, so they realise they are not.
7. Do you do any content warnings for this piece? Why?
Depends on the night. If it’s a night with a more therapeutic lean, or it is specifically designed to be a safe space, or friendly to vulnerable people then yes. Really, in that context I probably wouldn’t perform it anyway unless it was actually requested or on theme. If not, then no. When people go out to see live entertainment, the performer should work in service of entertainment. Theatre isn’t supposed to be 100% safe, and performance poetry IS theatre. If an audience has come to a poetry show on purpose, the implicit relationship is that there will be emotional themes addressed, you don’t have to know anything about the scene to realise that. People watch theatre to be elevated and catharsis through experiencing challenging performances is a big part of that. Content warnings, unless handled very carefully, can break the rhythm and illusion of the show, as well as creating preconceptions about a piece.
EG; I have been in the audience when someone has started a poem with ‘trigger warning, suicide’ which IMMEDIATELY put me on edge. However, the poem itself was really comforting and I’m glad I ignored my instinct to leave.
THAT BEING SAID context is important, I’m not about to blanket damn trigger warnings. A LARGE part of serving the entertainment of the night is the ability to read the room, spot when something isn’t appropriate and make a call. If I’m doing the poem as part of a longer set, I will usually do a brief intro to it, not specifically making a content warning (although one is implied), but to steer the audience into a different energy. In reality you can never 100% tell which way a performance will go. Someone could be fine hearing a poem about suicide, but get upset with a poem about food because they have a history of eating disorders. There does come a point where you have to acknowledge all audience reaction as valid even if the audience straight up walks out. Sometimes trigger warnings are very necessary. Sometimes putting a trigger warning in front of a piece is actually more about giving yourself an illusion of control that you don’t, in reality, have.
8. Does the artist owe any kind of protection or safeguarding to their audience?
Yes and no. The artist owes organisers and programmers an accurate representation of their performance practice and general content so they can be booked for appropriate nights. They owe it to the audience to create art to the best of their ability. If their art is massively triggering, though, they have to be prepared to not be booked very often, or only for specific nights, or to have to put on their own shows. It is the organiser’s job to keep the audience safe, especially at curated nights, where they should know their regular audience well enough to bring in acts that will succeed. When there is an open mic element, the responsibility is a little more shared. Again, you have to read the room but you also have to acknowledge that you are a part of a community. If you are unfamiliar with the nights setup/it’s your first time, you should either scout it out first or bring a backup piece in case your chosen material isn’t going to work. There is no ‘don’t be an asshole’ rule, but there is an understanding that you should ‘try not to be an asshole’. Still, ultimately it is the organisers responsibility. They have to serve the needs of their night, and if someone steps to the mic and directly works against those needs, they have to be able to stop it.
BUT AGAIN this is not a hard and fast rule. Art practices don’t exist in a vacuum and absolutes are rarely sufficient to support the balance between safety and progress. Nuance exists.
For a scene in rude health, there needs to be a wide variety of event types. The safer spaces need to exist, because vulnerable people deserve entertainment and self-expression, but they ideally would exist in parallel with middle-of-the-road-pop-Poetry for the newcomers, and a more extreme end of the spectrum where limits can be tested, because such testings are VITAL to the evolution of the artform. ‘Saved’ by Edward Bond featured the stoning of a baby onstage and it resulted in a court case that DESTROYED the Thatcherite censorship of British theatre. ‘Shopping & Fucking’ featured drug abuse and violent rape, but broke new ground, opened doors for today’s pioneers of queer theatre and predicted the neo liberal society of today. ‘Ubu’ by Alfred Jarry was considered so nonsensical and artless that it caused TWO FUCKING RIOTS on opening night, but it spawned numerous artistic movements, without which we wouldn’t have Monty Python or Mighty Boosh. Nights need to exist where decency is malleable, simply for the evolution of the artform. Great art is not impossible when subjects are considered ‘off limits’ or ‘inappropriate’ BUT there are great things that can be achieved by breaking perceived barriers.
HOWEVER. NUANCE AGAIN.
We can’t have a blanket ‘anything goes’ approach, even at the most basic level. You have to restrict hate speech for a start, because one confident speaker given a platform can convert others to a cause. You have to no-platform predators and abusers because they will pretend to be innocent and use a platform to find more victims. This, as far as I can tell, is the most pressing responsibility an artist and an organiser has. It’s not a service to the artform, it’s a service to society, so in this case, yes, the artist, and to be honest EVERYONE is responsible for bombarding hatespeech, bigotry and abuse with poison until it dies like the fucking cancer that it is.
Thank you for coming to my TED talk.
9. Do you believe writing about areas such as grief, loss or trauma is a form of healthy catharsis or memorialisation?
Yes. NEXT QUESTION.
Alright, alright;
Writing stuff down can allow you to recognise and acknowledge your feelings much more clearly. Also, there are three poems that, whenever I perform them, will make me feel like the lost are still here with me.
In fact, every year on the anniversary of my brother in laws passing, I meet with my family, we chat, we support each other, and I perform two poems; the one I’m writing this survey about entitled ‘jump’, and another, more personal one that I rarely perform in public. Before I started organising this, we were stuck with ‘just getting through the day’ when it came around. It’s still the worst day of the year for us, but we have something to focus on that brings us together.
However, once again, we should be wary of absolutes. People can process grief in many different and utterly unexpected ways. This works for me and a few folk I know, but it could be catastrophic for others. Grief is one of those things where you have to acknowledge every possible emotion, no matter how illogical, as valid. If the bereaved responds by instinctively picking up a pen, whether to memorialise or seek catharsis, then writing is a valid response to grief. Therapy and/or seeking advice from medical professionals are also valid responses. It’s a simple case of ‘you do whatever makes you feel better’. If that includes enrolling in clown college and riding a unicycle everywhere; valid response.
10. What kind of warnings signs would you point out to someone new to poetry or performance who was performing about their traumas?
First of all, unless they specifically asked me, I don’t think I would. In this hypothetical I’m going to assume they are an adult presenting as neurotypical. They have a right to explore their own trauma/reclaim their narrative in whatever fashion suits them and I wouldn’t want to patronise them by giving the impression that I thought they needed help (see my question 9 chat about valid responses; we mustn’t tell people how to or how not to grieve). Humans are much hardier than they often give themselves credit for. The only context in which I would intercede would be someone clearly exhibiting signs of severe anxiety/depression, & I had even the slightest suspicion they might be a danger to themselves. However, these conditions make it very difficult for new voices to leave the house, let alone sign up for an open mic, so while I acknowledge there’s a risk, it isn’t a particularly likely scenario. I feel like that’s not the sort of answer you’re after, though.
I do think there is a bit of a danger (the extent of which I’m unsure of) that a new poet could see performances on YouTube and in slams that lead them to think they have to mine their own trauma to get material. The warning signs of this would be asking yourself ‘what can I write about’ and the answer being ‘ooh, that horrible thing that happened’.
When rehearsing the poem, it is perfectly normal to cry (or similar emotional release) even a few times. If you well up during a public performance, also fine AS LONG AS THE PERFORMER FEELS IT HELPS.
If, however, you have an uncontrollable emotional response EVERY TIME you perform it, I’d start to question whether you should.
If the idea of performing it causes anxiety above the usual pre-show nerves, and that anxiety reduces when you decide ‘oh I’ll perform something else instead’ then that’s a CLEAR indication.
It is hard to point to specific warning signs other than the above and feeling peer pressure to perform grief-motivated poetry, because everyone’s responses can be incredibly varied. All I’d really say is some advice I was given when I started writing;
“There are two types of writing; what you send out into the world and you do for yourself. The first type needs to flexible so you can improve it based on the responses you get. You have to learn that constructive criticism is valuable and not a personal attack. The second is imperfect and often messy, but it helps you learn about the craft and your own mind. Always remember the two are flexible. You can start writing something personal and realise it’s for everyone. You can send something out into the world and then entirely take it back upon realising that this was just for you.”
lloydcarltonrobinson.bandcamp.com/releases
https://www.patreon.com/poetryasfuck
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DESTINY'S CHILD
spoilers below - backdated from 10/8/2020
oh boy here goes I put off watching this last episode because if the series never came back I didn't want my experience to end on a buckleming note but here goes
I still need to post my liveblogging for the last two, my fucking chromebook died right after the may stay-at-home hunt but I backed it up at least, but it took those text files with it except for when I get around to digging through the backup
the episode title gets several songs stuck in my head simultaneously
I'm wearing my GISH sock monkey DISOBEY shirt for this
god I am so infinitely sad about the bunker set being gone now
the recap footage makes me want a pizza so badly
I miss meg
the only thing I'm looking forward to about this one is I know gen and danneel are in it
god I fucking love savage garden, I've been following darren hayes' posts throughout quarantine and his dog is so cute
I had registered for a meditation webinar with lisa berry but Real Life got in the way and I missed it :(
why do buckleming episodes always have this "metal GEAR?????" question and answer exchange, sam's like "wow! that's in latin!" no shit
well if they have to be "not stupid" that's a no-go because buckleming constantly have everyone holding an idiot ball
good on jack for not divulging details to dean
sergei's back i guess??? didn't cas almost kill him last time and he almost killed sam or something bullshit like that
dean interrupting cas makes my blood boil
it is nice to see ruby again
if it's stashed in hell, like... just go ask rowena? usually they've killed off all their friends who could help but in this case she's still there and she's in charge so what's the problem.
why do sam and dean always resort to violent threats? oh yeah it's buckleming
oh well thank fuck that jack is preoccupied with dean's forgiveness and castiel is making excuses for dean's angry outbursts
excuse me why can't jack feel things without a soul, angels feel things without a soul, I guess if FEELING THINGS like a human is the only thing that matters then dean is the king of all feelings for "feeling acutely" fuck off
I hate that all the cas and jack moments wind up being about the winchesters
god you can tell jensen was struggling to deliver that ultra forced "air abracadabra jet lag" line
I like the idea of a welcome reception, good for rowena
why wouldn't dean know that sam and ruby dated, he threw it in sam's face plenty enough
castiel knows what being sexually intimate is, he's not stupid
it really does feel like the end of an RPG though where they just walk into hell like "no big deal, we're level 99"
I JUST WANT CAS AND JACK TO TALK ABOUT THEMSELVES FOR ONCE
normally I'd be all about this as a trust exercise but I'm really very upset jack is being asked to nearly kill the only person who loves him (yes kelly too but A) she's not exactly around B) he sort of killed her too :c so that's gotta be tough)
also this plot was 100% stolen from yockey's episode 13x05
"what if I screw up?"
"oh well then I'll be lost forever" uhhhh fucking excuse me?? cas would not be so flippant with ASKING HIS CHILD TO KILL HIM, also jack brought him back last time (????????) and I realize jack can't use his powers without drawing chuck's attention but isn't he using them to nearly kill castiel
god i hate buckleming this writing is so sloppy
I guess we're back to saying bitch all the time again
I'm legit disappointed that rowena isn't throwing parties
god i've missed meg, i've missed rachel miner
I've missed ruby too
I guess this is just... uh, what, cas and crowley but really it's aziraphale and crowley but now it's jo and ruby? sort of? again?
I am so uncomfortable when the winchesters boss jack around and especially that this is framed to make it look like "lol jack killed cas while you were gone" can't wait for that to be held against jack
not ever gonna be okay with dean calling castiel an idiot
won't opening a rift get his attention
also I'm feeling weirdly vindicated that the sam from another universe keeps winning rock paper scissors
"you get... paid?"
I've been watching a lot of venture bros lately so I almost want this AU sam and dean to be along those lines lmao
sam looks really cute with a "man bun" but it wouldn't be a buckleming episode without violence to women and plenty of homophobia
yeah I knew instantly it was hellhounds, why wouldn't it be guarded
I like this fake "search the web" brand youtube with cat videos, adorable
put the metal thingy in your mouth, guys, it'll be like putting a coin on your tongue or something like that, buckleming are not very clever
trust fund sam and dean, sam's drinking beer with a pinky up. god.
we can't leave bustyasianbeauties behind can we, yep, still here insisting upon it
ah yeah there we go, the garden of eden. of course. sure. why not
jack IS an angel, he's half angel, is he allowed to claim that or what
I'm glad cas is standing up for himself a bit at least?
is this girl... supposed to be a More Different lilith or the serpent or something
oh i guess not there's a snake
the garden of eden just has like, bromeliads
"snake hissing" says the subtitle, it's a burmese python who's been handled enough to be on camera, sure okay
oh i guess the girl was a snake who is maybe lucifer after all. this is a deep cut, buckleming. you guys are academics
I'm glad jack thinks primarily of dean for some reason when he starts to hallucinate
why didn't they barricade the door with the wooden pews or that chair i can clearly see next to the door, why aren't dean and cas helping sam hold the door back while they wait, literally what the fuck
god i fucking hate buckleming. oh yeah just go to brazil. it's being run by bolsonaro but no big deal
oh i love this slate grey shirt on sam
kinda glad I waited until now to watch because I could not have handled months of the last aired words of SPN being Jack begging "Please forgive me" for something that was not his fucking fault, and them... not forgiving him, and it cutting to credits
also fucking like, do buckleming think angels don't have regrets just because they don't have souls? like. fuck. god i'm so mad
I need a palate cleanser
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