2019: The Traditional Wistful End of Year Look-Back

As has long been my custom – and the custom of just about anyone – in the dead days of December, I feel the need to look back at the year that was now that the Christmas beast has been slain.  My dad’s new year tradition was always to spend January 1st reviewing and updating his CV so that it was good to go for any new career moves the coming twelve months might bring.  In a few days, when 2020 is hatched, I intend to take up that tradition myself.  I haven’t had need for a CV since I got my current job back in the summer of 2011, but earlier this year, after detailing My Triumphant Year of Failure, I felt it was time to start thinking about getting mine ready.  I did.  But so far it has sat filed away on my computer.  2020, I feel, might finally the year I take it out to stretch its legs, as one of the first things that comes to mind as I look back on 2019 is how much I feel I might have done all that I can at my current job.

I remember having the first thoughts last September – 2018 – as the academic year began, that I had been at the school long enough to see my first cohort through entirely – from Year 7 to Year 13.  I was on duty on the playground and looked around, thinking how so many students and staff had changed in my time there that it was starting to feel like one of those long-running TV shows, well past its prime, where new actors are brought in to freshen up tired plots every few years until only one or two of the original cast remain, treading water by staying on long after they should have taken on new roles elsewhere.   It was just a passing thought, but it lingered throughout 2019, especially as more and more of the changes I was noticing seemed to be coming at a detriment to some of what had originally drawn me to the place.

I still love my job, and enjoy the freedom of running my own department and being able to teach exactly the sorts of things I want to teach.  I still have fantastic colleagues and some really great students.  But everything feels fairly routine and it feels like it may be time to move on if something appealing comes up.  Who knows – this time next year I may be writing about how wonderful 2020 has been at work and how I couldn’t ever imagine working any place else – but right now it feels prudent to make sure that CV is ready to send out at a moment’s notice.

In many ways I guess the theme of 2019 was one of malaise, endings and new beginnings.  I already detailed in August the end of my improv group, The Kneejerks, this summer.  Another big winding down of something that had started so promisingly and ended up leaving me cold.  The good news since then is that a few weeks later Fat Penguin, a more comedy-focused improv training centre in Birmingham, were auditioning for new members of their house team.  Having missed doing regular improv in 2019, and been frustrated for a long time about The Kneejerks lack of comedic focus, it seemed almost like fate that such an opportunity was arising at exactly the time I could take advantage of it.  So I went and auditioned, and I got in!  Since mid-September I have been performing weekly, doing the very Armando/Asssscat format which was what I wanted to do when we started The Kneejerks in the first place.  First in the “incubation troupe”, learning the ropes and finding my improv feet again (my god I was rusty!  Those first few weeks I genuinely felt like my mind was all gummed up with bad instincts and clumsy slowness.), and then graduating to the main house team by October.  We rehearse once a week too – so after so long doing basically no improv beyond the occasional fortnightly messing about with ideas with The Kneejerks, some weeks I’m now doing two nights a week improvising: one night in front of an audience, the other night not.  It’s so much fun, and has completely re-energised that creative muscle that was atrophying for most of the year.

In many ways it is the happy ending of finding Fat Penguin following the decision to end The Kneejerks that has given me the confidence to consider the possibility that there may be other jobs out there than the one I currently have.  It is easy to stick in a sub-par situation out of some misguided sense of loyalty, or simply because it is convenient, but sometimes taking a risk can remind you that nothing is permanent and, importantly, nothing you don’t want to be permanent needs to be.

The other big ending of 2019, of course, was the end of my creative project started the summer before – the 86 album – which was also the origin of this blog.  Which was, itself, a culmination of over eight years of grief and god knows how many years of emotional trauma.  Getting that album finished was such a huge accomplishment for me both musically and psychologically.  Showing myself that I could write, perform, record and produce an entire album all by myself, playing every instrument, regardless of if I’d ever played it before was a wonderful thing to know, and unlocked a whole creative side of me I didn’t know that I had.  All those years playing bass and singing, but always feeling dependant on others for anything to be done – now I know if I want to write a song, or an album, I don’t have to wait for anyone else to give me permission.  And then, of course, psychologically, as the song-writing was such a cathartic way of trying to get to grips with so many complicated feelings I had been trying to put into words since that first phone-call informed me my dad was dead in August of 2010.

As 2019 comes to a close, Strangely Shaped by Fathers has not only released “our” first album, 86, but also a two track single to follow that up.  I also wrote and recorded an updated version of the song I wrote for my wife when we got married and played it for her and our friends on our anniversary and I have one new song I plan on releasing over the next few days.  In 2020 I have plans to work on the next album – tentatively titled Finding Me – and have not been so creatively fulfilled musically for years.  Furthermore, I managed to get much of my back-catalogue, in a variety of different bands dating back to my childhood, released digitally across all platforms, and even released a charity single for Cancer Research UK and played a charity gig at my school.  It has been a good year for my music, and I have some lovely callouses again which had grown too soft from underuse.  My wife’s wonderful birthday gift of an acoustic bass was a huge help here in facilitating an ease of just picking up a guitar and getting lost, and for that I cannot thank her enough.  2019 was the year of our tenth anniversary and we had a great time celebrating in Paris.  But ten years of marriage is not about the gimmick of an anniversary; the fact that she still makes me so unbelievably happy every single day, the fact that we never run out of things to say or never stop wanting to spend time with each other (she’s here in the same room as me now, painting as I write) is a genuine blessing that, if there were a god, I would thank them for every day.  Instead, I just thank her.

So, creatively, I have made music, performed improv, and, when time permits, have enjoyed exploring my writing here on this blog, specifically playing more with poetry this year than I have before (outside of a musical context).  Indeed, I wrote a poem a few days ago I am so proud of I am not even going to think about publishing it online until I have tried to get it published properly.  But this is not the only writing I have done.  An idea I had in the Spring spawned over the summer and grew fruit by September – a philosophy blog for students and teachers to apply philosophical ideas away from the confines of the classroom and exam demands and write philosophy for pleasure has been a real source of joy, ensuring I am writing something at least once a week that has nothing to do with work.  The blog has also been fortuitous in other ways, as it enabled one particular academic to contact me and enquire if I was the same person who wrote a PhD thesis about anarchism.  When I told him I was, he told me he had long loved the argument I made in my thesis and wanted to turn it into a book!  He runs a non-profit publisher out of Perth and wanted my book to be its next project.  We met early October and since then the two of us have cut the 100,000 word thesis down into a lean-mean 60,000 word book which will be published in 2020.  To say I am incredibly excited would be a massive understatement.  And, again, it feels like the culmination of something – the thesis I wrote way back in 2008 finally finding its audience over ten years later and the book I always wanted it to be finally coming to life at long last.  An album and a book, all in the same year.  Sometimes dreams do come true!

Bizarrely though, despite all this good stuff, 2019 has probably been one of the worst years for my mental health in a long while.  Anxiety is at an all-time high, with pretty much every day marred by insane thoughts about death and disease.  I am meditating again, after not doing so at the start of the year, but some genuine physical ailments (floaters in my eyes, dizziness, sinus issues, ill-fitting glasses) have allowed my health anxiety disorder to be triggered like a mother fucker.  In all honestly I don’t think I have slept an entire night through in 2019, waking up frequently and never quite getting consecutive hours of deep rest.  The general feeling of exhaustion that has followed me around as a result has been further fuel to the health anxiety fire.  2020 I hope to find some sort of therapy that will help me navigate a better path through this.  It is a not inconsiderable triumph that I have come out of 2019 alive.

Others were not so lucky.  My cousin killed herself earlier this year and the funeral was probably the best I have ever seen in terms of Christian compassion.  Not being religious, I don’t have access to those church-based support networks, but seeing how well they dealt with the whole thing, and how much they made the pain bearable for her family was inspiring.  It genuinely made me buy a page-a-day bible to give the thing another read and see if there was anything of value.  Unfortunately, the book just angered me daily with its contradictions and stupidity.  I gave up in the summer, intending to restart in September and never did.  I wasn’t exactly seeking religion, but I was expecting more wisdom than there was.  I may come back to it in 2020, but that and the meditation was about as spiritual as 2019 could get for me.

Of course, politically, it’s hard for anyone to believe in a god after 2019.  That December election was as big a punch in the dick as anything.  It was like re-living 2016 all over again – Brexit, Trump, and a massive Conservative majority.  Just a few months before I had marched in London for a people’s vote and things seemed to be turning our way.  But I should have known as I went out leafletting for Labour in the cold November and December afternoons and had leaflets put straight in the bin on some doorsteps, and laughed at on others, that this would not go our way.  Should have known, to be honest, from my own disillusion at the leadership of Jeremy Corbyn.  Not that I didn’t support, and don’t continue to support, his politics.  But earlier in 2019 I was considering leaving the Labour Party (in fairness, I only joined in order to try to push them into a more leftward direction in the post-Miliband days, and, as an anarchist, have no real party allegiance) because it was clear to me that Corbyn was not doing what was needed to win any arguments in the media.  While I could hear him speak and parse the media bullshit with the reality of his words, it was more and more obvious that the general public just heard “anti-semitism”, “ineffectual”, “Corbynism”, etc. and that he was dead-in-the-water politically.  I got more and more annoyed about Labour’s non-position on Brexit and basically felt it was time to tap out.  Then the Brexit policy shifted, the general election was called, and I dared hold out a little hope that the sheer and obvious awfulness of Boris Johnson would be sufficient to make the British public see sense and prevent that awful liar from getting anywhere near Downing Street, especially after such a failed first few months after he took over from Theresa May.

It was not to be.  And I spent much of the last few weeks not really able to process how fucking awful my fellow citizens are for not being able to see through bullshit and make such a shitty decision.  I wrote the following poem to try and put it into words, but even this doesn’t quite get there:

The Choice Was Clear

The choice was clear:

Hope versus fear.

And I’m still shedding tears 

(as the wrong people cheer).

Which maybe sounds too “them and us”,

For those of you feeling conscientious

About desperately finding some silver lining

In the clouds of this apocalyptic end-timing.

But right now I’m feeling nothing but hostile,

And it really will take me a very long while

Not to see undeniable division

Between how different people came to their decision.

Because there are consequences to their crosses,

And the inevitable life losses,

That their quivering hands delivered

As their empathy lay withered.

Pretending somehow they didn’t know

Why the lines for food banks grow

So many families unable to eat,

Many more sleeping out on the street,

Communities lying ravaged

As their services have been savaged,

By a rapacious drive for profit

With no one brave enough to stop it.

Deregulation, welfare cuts

Dead in a ditch, no ifs, ands or buts

Get Brexit done at any cost

It doesn’t matter what we lost.

Immigrants once more scapegoated 

To justify the way we voted 

Wrapped in a flag of sovereignty

And lofty dreams of being free

They sold the future of the many

So the few could make more pennies.

As the discourse loses root

From anything resembling truth

Outright fraud will get rewarded 

Verbal bullying applauded

Rights and protections now eroded

Another dog whistle encoded

I cannot meet my neighbours eyes

Nor can I say I’m that surprised

Only that I’m disappointed

With the liar they’ve appointed

Substance swapped for sloganeering

The clueless crowds continue cheering

I cannot stand a thing I’m hearing

As the ship of state is steering

Towards an iceberg we all see

But dismiss as fantasy 

A fake news conspiracy

Our unsinkable economy

Meanwhile some of us can’t sleep

Because the worry’s gnawing deep

Of when our country lost its way?

And if we’ll ever find our place

And feel again like we belong

When so many are so wrong?

And fat, fingered, base and greedy

The many sacrificed the needy

So the few could keep their money

Like flies to shit-smeared honey

Feet stuck in their mistake

It starts to dawn, but far too late

That they’ve sabotaged their fate

As they slowly suffocate

Beneath the weight of propaganda

Which wove gold from shards of slander

The winning strategy

Was to repeat it frequently

And add some false equivalency

Until anyone can see

Unless, of course, they are insane

That all politicians are the same

Even when they’re clearly not

And it’s a genuine choice we’ve got

Because the choice it was so clear

A vote for hope or one for fear

And we chose poorly in a landslide

As some swam against this harsh tide

Impossible to stop the torrent

Of the selfish and abhorrent 

Drowning as it overcame me

Election night forever stained me

Crying out into the dark

It broke my misanthropic heart

And I picked up my poet’s pen,

Without country yet again,

Wiped my eyes and took a breath;

And came to terms with culture’s death.

 

So 2019 may also mark the end of something else – the end of politics as we know it.  It began with the Brexit campaign and Donald Trump’s concerted destruction of epistemology in 2016 – truth no longer being a thing which mattered in politics – and has slowly eroded away until now we literally see a politician lie repeatedly and consistently in every campaign appearance and vote for him anyway.  It’s hard to maintain the lies on which Western civilisation is based when there is no longer any agreed consensus on what reality even is.

2019 was also the year I finally came to peace with the fact that I would never be able to catch up with every TV show and movie I wanted to see and stopped trying.  The joy of this decision cannot be overstated.  Rather than trying to “keep up” and “avoid spoilers” I just watched what I wanted, when I wanted, and if I didn’t get to something “in time” I figured if it was any good it would still be good when I got around to it.  If it wasn’t good later, then it probably wasn’t that good in the first place either.  Likewise, I decided to stop giving WWE so much of my time.  As more wrestling options arose with AEW, NXTUK and NXT on USA, I no longer had the five hours to spare on a subpar weekly Raw and Smackdown so made the decision to pull the plug.  We now only watch the monthly Pay Per Views and feel all the better for it.  Time is too precious to waste.  I have read so much more in 2019 because of this.  And have caught up on things that I actually want to catch up on rather than feeling some weird obligation to basically keep up with a conversation on Twitter I don’t even want to be having.

2019 was also the year social media won.  I tried coming off Facebook completely in January, but was back by the summer.  After an initial flurry of friends actually making the analogue effort to have a relationship in real life, I realised Facebook was, sadly, where people were living their lives regardless of whether I wanted to be there or not.  By not participating I was basically removing myself from them, alienating myself and putting up walls.  I don’t like it, but I’m back there again and actually know what people are up to in a world where they no longer actually talk.

Highlights of 2019 was all the theatre we saw – basically every show at the RSC in Stratford and most of them at the Old Vic in London.  Plus we saw tennis at both Edgbaston and the O2, and MLB baseball in London!  We saw Nick Cave, Muse, and Divine Comedy.  We travelled to Sweden, to France, to the Lake District and the Peak District and prioritised having a good time at the weekend instead of letting work dominate our lives.  While I did all this writing and music, my wife discovered pottery and painting, producing amazing works of art in a variety of different mediums.  I got two new tattoos.  We gave to charity.  We saw family and friends.

Basically, 2019 sucked in a lot of ways, and was the best year ever in others.  Like any year, it had its ups and downs, its highs and lows, its successes and failures.  As the wider world continued its descent into a very bad place, and cognitively my mind continues to do battle with my will, we did what we could to hold the darkness at bay and bring light to our lives.  And I think, in the accounting of it, we did pretty fucking well.  A year of art, of love, of travel, of culture, of life lived against all the odds and in spite of all the obstacles is a year that has been grabbed from the claws of despair and held proudly aloft in a middle-fingered: fuck you.  So fuck you 2019.  You were great, and you were fucking awful in equal measure.  I’ll be glad to see the back of you, but will miss you when you’re gone.  I’ll never forget the good times we had and will try not to let the bad sour the sweet.

2020 – your move…

 

 

Books Read in 2018

For what it’s worth I also list the books I read in any given year.  This is what passed my eyes and mind in 2018:

 

  1. “Best Seat in the House” – Justin Roberts
  2. “Fire and Fury” – Michael Wolff
  3. “Nick Cave: Mercy on Me” – Reinhard Kleist
  4. “Going Into Town” – Roz Chast
  5. “Digging Up Mother: A Love Story” – Doug Stanhope
  6. “In the Cage” – Kevin Hardcastle
  7. “Second Nature” – Ric and Charlotte Flair
  8. “Lost Connections” – Johann Hari
  9. “My Age of Anxiety” – Scott Stossel
  10. “A Monster Calls” – Patrick Ness
  11. “No Is A Four Letter Word” – Chris Jericho
  12. “Mother. Wife. Sister. Human. Warrior. Falcon. Yardstick. Turban. Cabbage” – Rob Delaney
  13. “Paddy Clarke, Ha Ha” – Roddy Doyle
  14. “Anything You Do Say” – Gillian McAllister
  15. “Help” – Simon Amstel
  16. “But What If We’re Wrong?” – Chuck Klosterman
  17. “Final Girls” – Riley Sager
  18. “Utopia for Realists” – Rutger Bergman
  19. “The Commitments” – Roddy Doyle
  20. “Two Cheers For Anarchism” – James Scott
  21. “Why I’m No Longer Talking To White People About Race” – Reno Eddo-Lodge
  22. “We’re Going to Need More Wine” – Gabrielle Union
  23. “Exit West” – Mohsin Hamid
  24. “Sextet” – Henry Miller
  25. “I Still Dream” – James Smythe
  26. “Democracy and its Crisis” – A.C. Grayling
  27. “I Was Told To Come Alone: My Journey Behind the Lines of Jihad” – Souad Mekhennet
  28. “Strange Weather” – Joe Hill
  29. “Women and Power: A Manifesto” – Mary Beard
  30. “The Knowledge Illusion” – Steven Sloman and Philip Fernbach
  31. “The Outsider” – Stephen King
  32. “Tuesdays With Morrie” – Mitch Albom
  33. “Requiem for a Dream” – Hubert Selby Jr
  34. “Kitchen Confidential” – Anthony Bourdain
  35. “A Cook’s Tour” – Anthony Bourdain
  36. “The Anatomy Lesson” – Philip Roth
  37. “Under The Table” – David Hargreaves
  38. “Inborn Knowledge” – Colin McGinn
  39. “The Plot Against America” – Philip Roth
  40. “Another Brooklyn” – Jacqueline Woodson
  41. “Calypso” – David Sedaris
  42. “Hidden Bodies” – Caroline Kepnes
  43. “Ethan Frome” – Edith Wharton
  44. “The Brooklyn Follies” – Paul Auster
  45. “House of Trump House of Putin” – Craig Unger
  46. “The Killer You Know” – S R Masters
  47. “The Girl Who Never Read Noam Chomsky” – Jana Casale
  48. “I’m Sorry. I Love You.” – Jim Smallman
  49. “Fear” – Bob Woodward
  50. “We Were Eight Years In Power” – Ta-Nehesi Cotes
  51. “The Chalk Man” – C. J. Tudor
  52. “Upstate” – James Wood
  53. “Thatcher Stole My Trousers” – Alexei Sayle
  54. “The Silent Companions” – Laura Purcell
  55. “Elevation” – Stephen King
  56. “Dark Sacred Night” – Michael Connelly
  57. “Kids In The Hall: One Dumb Guy” – Paul Myers
  58. “Insomnia” – Marina Benjamin
  59. “The Pythons” – The Pythons Autobiography
  60. “Providence” – Caroline Kepnes
  61. “Christmas: A Biography” – Judith Flanders
  62. “What’s Not To Love?” – Jonathan Ames
  63. “Before The Chop III” – Henry Rollins
  64. “The Mistletoe Murder And Other Stories” – P.D. James
  65. “Hostage” – Guy Delisle
  66. “Suicide Club” – Rachel Heng
  67. “In The House In The Dark of the Woods” – Laird Hunt

Under The Influence

One night, a few years ago, my wife asked me a question as I was talking about my improv group. I’d mentioned my frustration at lulls in our show – moments where scenes seemed to drag, go nowhere, or be unfunny, and specifically when it seemed to me like my fellow performers somewhat dropped the ball. To me a clear comedy opening was there, but they hadn’t seen it. Or I had offered something which had been poorly built on. Not because they are bad improvisers, but because they didn’t see that particular possibility of funny. She asked me what our common comedy influences were.

I realised I didn’t know.

The next week, at rehearsal, I asked the group: what are our shared comedy influences? I offered a few of my own. The League of Gentlemen, Kids in the Hall, Stewart Lee, Saturday Night Live, Chris Morris, Reeves and Mortimer, Upright Citizens Brigade, etc. Those present shrugged. There was little joy of recognition or bond of shared respect. Others then followed me with their own comedy influences. My shrugs matched their earlier ones.

At the time I thought maybe it didn’t matter. Perhaps it was the secret to our chemistry: all of us bringing different and disparate influences into the mix and combining the mess to make a sum that was greater than its parts?

Theoretically the same had been true of my band, Academy Morticians. I brought the punk rock, Si brought the Queen, our drummer, Steve, the death metal and our guitarist, Tom, a Manic Street Preachers obsession. The clash of influences led to a beautiful tonal carnival of melodic and harmony laced punk rock with some kick-ass satanic blast beats.

Except we all loved Queen. And the Manics. And when it came to punk rock there wouldn’t have been a band if Si and I hadn’t first listened to Green Day, Dead Kennedys and Bad Religion together in my back garden on a cheap cassette player. Even the death metal, though not a favourite genre, had its occasional moments on all of our stereos. Although we maybe put the emphasis on different words, we were all essentially singing from the same hymn sheet about what “good” music was. And when the band broke up for a time, the “creative differences” which led to the formation of solo and side projects could be easily redescribed as no longer agreeing on what good music sounded like. I wanted to pursue more punky punk combined with experimental influences (No Means No and Mike Patton), and just a soupçon of Nick Cave, and Si did not. The difference is evident in the respective musical paths we took afterwards. And when Bullet of Diplomacy, my band which followed, broke up it was largely because the guitarist and I had different views about what I saw as guitar “wanking” and he did not. At that point we were already on our second drummer because the first over-complicated things with unnecessary fills and nonsense. His idea of “good” drumming clashed with our own.

These disputes are important to document because that drummer, and that guitarist are the Academy Morticians guitarist and drummer! We were no longer active as a band because we no longer agreed on what music we were trying to make. Crucially, when we did all agree again, a few years ago, we got together and made a new EP. And there were no arguments and no disputes. Steve’s drumming was as complex as it needed to be without crossing the line into metal, Tom’s guitar soloed with a technical excellence that was exactly right alongside Si’s other guitar, which was now finally bashing out punky chords again after all those years of non-aggressive electro-pop and acoustic singer-songwriting. And my bass guitar slotted right in there too. Punky, but not too punky. Raw, but not ragged.

The reason we were able to do that was because, despite all the other musical stuff we had done in the intervening years, we knew when we came together again exactly what makes something a Morticians song and not a Bullet of Diplomacy, Woe Betides, Pixieland or an Isenscur song. We had a shared vision of what this band should be. If anything, we only broke it up because the songs we wanted to write, we knew, were not right for the group.

Just like years before, when I had recorded the Whining Maggots album with Paul Raggity and Sebby Zatopek. We all knew what we were looking for – something Ramonesy. Something Screeching Weasel. Something pop punk. And importantly for me and the songs I wrote for the project – that was not the sort of music we were making in Bullet of Diplomacy. Those songs didn’t fit there.

I wonder with my improv group – how can we work collectively to do something funny if we don’t all agree about what funny is?

One answer could be something I heard Penn Jillette talk about on his Sunday School podcast – that when you create something it is better to focus on what you don’t like than what you do like.

This rang true with Academy Morticians too. While Si and I, in it’s early days, agreed on certain musical influences, our band wasn’t ever trying to emulate Green Day, even if our origin lay in Green Day covers. At some point we wanted to write our own stuff. And that stuff was trying to do something that hadn’t been done: combining the pop punk of Green Day with the political lyrics of Dead Kennedys and the harmonies of Bad Religion and Queen.

I’d listen to Dead Kennedys and wish they were sometimes more tuneful; to Green Day and wish their songs weren’t all about drugs and girls; to Bad Religion and wish you didn’t need a dictionary to understand their lyrics; to Queen and wish their lyrics weren’t often so pointless. So we were not just trying to copy what we liked, we were trying to improve upon what we didn’t like.

So while my improv group perhaps have no clear shared comedy influences, perhaps we have a shared mutual disdain for certain things in improv which we don’t want to have in our shows? My own list of pet peeves would be:

  • Themed shows (i.e. improvised Harry Potter, improvised Sherlock, improvised Agatha Christie, etc.) While enjoyable to watch if you’re a fan of the theme, they are boring and formulaic to perform and require a lot of prep and research, as well as a shared mutual passion for the thing you are improvising (which we, sharing no influences, clearly do not have!)
  • Too much structure/ too many rules. Give me a blank slate and a word for inspiration and I’m off! Let’s discover the stories and the ideas together rather than hitting certain marks at certain times. Let’s be creative! Not slaves to arbitrary rules.
  • Unfunny improv. Improvised drama just plain sucks. It will never be as good as something someone has thought about and scripted the careful emotional manipulation required for it to be successful. That’s not to say there can’t be serious moments or dark stuff in there, but an improvised “drama” is inherently disappointing, whereas improvised comedy is demonstrably pleasing because of the immediate feedback from the audience that tells us we have hit the mark: their laughter. Jokes can be spontaneous and just as good as those which are carefully crafted. Improvised drama will always be second rate.
  • Lame endings. Your one job as an improv show is to find a satisfying ending out of all the random ideas generated in that show. And it’s fairly easy to do with just a little bit of thought. Shows that don’t, and try to get away with ooh, but look at all the thematic links as you sit clapping feeling underwhelmed can fuck right off.
  • Giving audiences what they want. By this I mean taking an audience suggestion – say, “cheese” – and then doing a scene about cheese! Audience input should inspire not dictate. They will be just as pleased, if not more so, to hear the callback later to an idea generated organically in a cheese-inspired scene (say the cheesy pop song you sang returning later as someone’s ringtone) than to just hear the word “cheese” endlessly shoe-horned into uninspired scenes.

But whether my group agrees with this list of hate, or if it actually describes their own favourite forms of improv is hard to judge without first knowing what they are aiming for with their comedy. After all, even if all of us in Academy Morticians agreed that Green Day and Queen’s lyrics weren’t political enough, Bad Religion and Queen had lovely harmonies but equally dodgy lyrics, and Dead Kennedys needed more melody in their mayhem, the band would have sounded a lot different than it did if our shared influences meant we were aiming for Simon and Garfunkel instead of something punk rock!

I posed the question again two weeks ago to the three of us who could make that week’s rehearsal. We are in a time of transition. Working on a new show and taking time off from our previous monthly spot until April. A good time to reassess and get some specifics about what we are trying to achieve.

Although only three of the five of us were there, there remained no obvious common ground on influences, and we had very different individual pet peeves about improv. We had a good chat, but moved no further towards our new show. The following week I couldn’t make it and the other four worked on some new rules and structure for narrative improv. One of the very things my ideal improv show would do without.

In the last month I have read Paul Myers’ excellent Kids in the Hall biography: One Dumb Guy, as well as the Monty Python collective autobiography: The Pythons. Both books were excellent, but my main take away was that in each group five or six very disparate people with very different performance instincts came together to form two amazing comedy troupes because the Pythons all agreed that the Goon Show and Beyond the Fringe were hilarious, and the Kids in the Hall shared a love of Monty Python.

What is our Goon Show? What is our Monty Python?

Big Ideas

There is a phrase Marc Maron often uses when interviewing people on his excellent podcast, WTF, or when discussing his life in the intros: “somebody had a big idea“.

He usually uses it derisively, the implication being that the so-called “big idea” caused a lot of problems and ultimately failed to achieve the thing for which it was intended.

Education has a lot of these “big ideas”. Workload is a problem, so someone comes up with a “big idea” to solve it which somehow ends up adding even more to your workload. Assessment is identified as the main culprit of workload problems, so a “big idea” arises about how to streamline assessment, and somehow your marking seems to be taking far longer than it ever used to. A new danger arises for children – the internet, for example – and a “big idea” about safeguarding them leads to a million projects and assemblies on “e-safety”…meanwhile children remain unsafe online.

I detailed a “big idea” my wife and I had last summer right here on my blog: the 64+ DVDs we have bought but not yet watched, all piled up in our lounge. The rule was simple: no new films. We want to watch a movie, we stick on one of these ones. We give it 20 minutes. We either finish the film, or we bin it.

It worked well during the long and lazy days of the summer, but then term-time returned. Work dominated; free time became precious. We’ve only got through ten of them. The ones we obviously wanted to watch the most. The pile still remains. Few of the remainders look appealing. We have gone to the cinema more. Rented movies from Amazon and iTunes. We’ve not technically broken “the rules”, but certainly the spirit of the piece. The “big idea” is a dud.

And we should have known this. The idea is in many ways a reboot of a former idea: movie night. Inspired by favourite TV shows where people somehow manage to watch three or four two hour plus movies in a single evening, we opted for many years to dedicate Sunday afternoons to movies. And specifically to those movies we had bought but not yet seen. So we used a mug, for some reason called a “pot” by us, and we wrote the names of all our unwatched movies into little slips of paper and put them in the pot. The “big idea” was we would do a lucky dip from the pot and have to watch whatever movie came out. We were cute about it – decided “pot time” as we started to call our movie afternoon would begin at precisely 4:20pm, in homage to stoners who use a different kind of pot. I had a permanent alarm repeated on my phone.

We should have known the “big idea” of the movie pot was a dud the first time we found ourselves saying “no” to a movie pulled from it. If not then, then definitely when we added more films to the pot, supplementing the unwatched and unwanted with titles of old favourites we knew we already liked. But instead, we persevered with the “big idea”, moving the pot to a new house when we moved; buying a new mug – specifically a James Bond mug – and filling it exclusively with the titles of James Bond films for use with our 007: The Complete Collection. A subsidiary pot for those occasions when only Bond would do.

The pots are still there, sat somewhere amongst the old VCR and DVD player. Gathering dust. I can’t remember the exact date we decided we’d just watch movies whenever we wanted, and whichever movie we wanted, I just remember many Sundays when we weren’t watching movies but were doing something else only to be interrupted by a blaring alarm at 4:20pm.

The alarm is no longer set.

We’re getting better at spotting “big ideas” though. A few weeks ago I proudly told my wife I had a plan for 2019:

“I’m only going to read short stories and essays. I have all these books of short stories and essays that I think I’ll get around to one day but don’t because I’m always reading novels. The rule will be no novels for a year. Only short stories and essays.”

She looked at me as I spoke, and in the reflection of her eyes, the pity I saw growing on her face, I could actually hear myself.

“I’m having another one of my ‘big ideas’ aren’t I?”

She nodded.

“I’ll only keep it up for a few weeks, maybe a month and then…”

“…you’ll want to read a novel again.”

“Of course I will.”

Like the time I decided iPod playlists were destroying my ability to enjoy albums anymore and vowed only to make playlists of full albums.

While I have tried largely to stick to this in theory – certainly when getting to know new albums – and have an ever-evolving and revising playlist called Everchanging on my phone, sometimes you just want a random shuffle, or thirty or so songs collected because they just feel like November. Another “big idea” which met its match against reality.

As a rule, the issue seems to be clear, and should have been obvious from the start to a self-professed anarchist like myself: “big ideas” with come with strict rules are doomed to fail. The rule should be: no rules-based big ideas. The paradox is intentional. If my hunch is correct, and rules are the problem, then so too would be the “big idea” of exorcising all rules. That would merely be another rule.

Anarchism is built on a fundamental idea that rules should be temporary if they are consented to at all. Used for a specific purpose and with a specific shelf-life. Once a rule no longer fits its purpose, it can be shed.

All the “big ideas” mentioned in this post would have benefitted from that anarchist approach. Listening only to albums was fun until it wasn’t. As was the DVD pile or films from the pot. The e-safety assemblies were important until the very phrase “e-safety” became self-parody and switched students off. Marking work is so different for each subject and each individual that a one-size-fits-all approach simply cannot work universally. So too are the individual workload issues of individual teachers teaching different subjects to different classes across a school. We will each have our specific workload triggers, and a one-size-fits all approach will not ease this diverse plethora of burdens.

The best “big idea” I ever subscribed to, therefore, remains that reigning, defending, undisputed heavyweight champions of “big ideas” for me, first heard scratched into the grooves of punk records in my childhood, then studied more thoroughly in articles, books and practice from adolescence into adulthood, ultimately becoming the primary subject of my PhD thesis: anarchism. The “big idea” that no-one’s “big idea” should last forever. That individuals and societies grow, evolve, and change their minds. That authority and hierarchy cannot be permanent but must instead be mutual, temporary and non-coercive.

Don’t let “big ideas” become rituals or routines become rules. Embrace your inner autonomy and mix it up a little bit, if only to remind yourself that in this one minor way you are still free. No gods, no masters.

So fuck it – I’m going to read a short story or two now instead of waiting for 2019. Now because I want to, not because I have to. All rules are constructs and when they no longer work for us, they need to be torn down, abandoned or replaced.

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