Chuckles in the Flophouse

Chuckles in the Flophouse

The boutique hotel used to be a flophouse. And now it was a boutique hotel. The transformation from flophouse to boutique hotel was not a gradual process. One moment it was a flophouse, the next it was a boutique hotel. For the same amount of money that could buy you a night in a perfectly ordinary hotel, you could have the experience of staying in a former flophouse. Roland Garnier liked the idea of this. Or at least, he liked the idea of staying in a boutique hotel. Only so that he could say to people, ‘I stayed in a boutique hotel’. He didn’t really like the idea of staying in a flophouse.
There’s something about the word ‘flophouse’. It’s the ‘flop’ part of the word. One could imagine a weary soul trudging the streets of manhattan in search of work and ‘flopping’ into his tiny cabin for the night, tired, aching and hungry. But there were other connotations, too. For too long, the word ‘flop’ had been predominant in the career of Roland Garnier and it just see,es plain insulting that he should now be staying in a house for those who flop. His last solo show had been a flop and so had his collection of poetry. The only thing he didn’t flop at was flopping. This is why he preferred the term ’boutique hotel ‘. It implied a certain distinction.
At regular intervals, the man in the boutique hotel cabin next to his kept chuckling to himself. Roland hopes that the man wasn’t doing what he thought he might be doing. The walls of the boutique hotel cabins were as thin as cardboard and Roland could hear every noise that his neighbour was making. It must have been like this, too, for the original inhabitants of yen boutique hotel, back in the days when it was a flophouse. Or actually, maybe not. There wasn’t much to chuckle about in those days, in spite of Laurel and Hardy. The whole place could probably have done with a bit of a laugh.
Maybe he wasn’t wanking at all. Maybe Chuckles just liked comedy. In which case, Roland thought about knocking on his door and telling him that he was performing that very weekend, headlining at the famous Duplex Cabaret right in the heart of New York’s gay village, bringing his own brand of whimsical comedic nonsense to the Big Apple. But Roland tended to shy away from this kind of impulsive human interaction, and in any case, at the back of his mind was the thought that Chuckles probably was just a prolific masturbator.
That morning, as he had the previous mornings, Roland had gone for a walk two blocks to a branch of Starbucks for a morning coffee and a breakfast roll. Roland had had no idea that they also had Starbucks in the USA and it had been something of a fortunate surprise to discover something so homely in this scary metropolitan city. The man at the reception desk of the boutique hotel had wished him not a pleasant day, but merely, ‘Be careful’. And this is what he’d also said the morning before. Roland really didn’t care for the implications of the young man’s tone, hinting, as he understood it, that he saw Roland as being too naive or trusting to understand the dangers of walking alone in the former skid row district, a district yet to be fully gentrified even with the transformation of the former flophouse into a boutique hotel. Roland lived in Devon, and there were certain areas of Newton Abbot that one simply wouldn’t walk alone, so he was not immune to the dangers of the lower east side, or any built up urban environment. Maybe the receptionist was worried that the death of one of his guests would reflect badly on the next Trip Adviser review.
The thing with the USA is that it’s like a whole different country. As Roland walked along the pavement, which in the USA is called the sidewalk, but still maintains the function and appearance of a pavement, he felt a kind of weird displacement within him that the culture and infrastructure around him was easily recognisable and navigable and yet by turns completely wacko. The number plates of the cars were all different and so were the buses. And the trucks. Goodness knows what was going on with the trucks. They were big and brutal and they looked like they meant business and it all felt rather unnecessary. The inside of the Starbucks, however, seemed like the inside of any Starbucks. It was almost as if they had modelled it on an English one, because it had a counter and a till and a coffee machine and tables just like the good old fashioned English Starbucksies. And the process was just the same. You bought a coffee, sat down and drank it. It’s just like these things are the same all over the world. Travel is likely to make philosophers of us all.
Roland sipped his coffee and looked out at the traffic. He was a little sad that the young lady at the counter had not even flinched, let alone make a comment, when she had heard his accent. And he’d gone to great lengths to emphasise his Englishness when he’d ordered his coffee. ‘Hello there! And a most pleasant morning to You! I would very much like to purchase a cup of your finest coffee, if I might be so bold! I do hope you might accommodate me in this matter!’, he had said, to which he had replied,
‘Sure’.
And then he had slipped back within himself, sitting at the table in the very corner and looking out at a busy intersection, the trucks and the buses and the hubbub of a major city as it wakes and busies itself for another day.
‘Hi. Excuse me?’
Roland looks up. A young man is standing next to him, a cup of coffee in one hand and a plate with a Danish pastry on it in the other. He’s wearing a T-shirt, shorts and a bum bag.
‘Is anyone sitting there?’
The chair next to him was empty. As were most of the chairs in the place. Roland wondered why he would want to sit there when there were so many other empty chairs in the place. He thought that coming to the USA, he might be immune to the various eccentrics and weirdos who populate Devon, but apparently not.
‘No’, Roland says.
‘Hey, you’re . . Let me guess . . Scottish?’
‘English’.
‘Damn, so close. I’m usually good with accents. I met an Estonian once and guessed his accent immediately.’
‘Remarkable’.
‘You here on business?’
‘Kind of. I’m here for . . Work’.
‘Oh? What’s that?”
‘I work in the . . Entertainment industry’.
‘Cool’.
Bum Bag Man sits down and starts drinking his coffee. He then picks at the Danish pastry and feeds bits of it into his mouth, wiping his fingertips on a paper napkin. He doesn’t say anything for a long time and Roland hopes that this is the end of it. But then he says,
‘I’m from Idaho’.
‘Oh’.
‘So I’m not used to this, you know, we have cities in Idaho, but it’s mostly rural, I’m from a rural community, we got lots of cows where I’m from, dairy you see, that’s why I have milk in my coffee because, you know, you got to support the farmers.’
‘I don’t know much about Idaho’.
‘Not much to tell’.
‘And what do you do?”
‘Me? Well sir, I’m a punch hole salesman’.
‘Punch hole?’
‘Sure. For office supplies’.
‘Oh, you mean holepunch?’
Bum Bag Man kind of makes a grimace.
‘That’s a brand name. There’s an actual company called Hole Punch. Hole Punch Inc. I work for Stevenson’s. We actually invented the punch hole back in the 1800s. Our founder says that the idea came to him as if from god, he just prayed one night, and woke the next morning with the Punch Hole clearly defined in his brain. You know, sir, he fell out with his brother, and it was he who started up the Hole Punch Company. But I’m proud to admit, I have a passion for Stevenson’s products that you can only guess at.’
‘And what happened before the hole Punch . . I mean, the Punch Hole was invented’.
‘I guess people just didn’t have holes in their paper’.
‘Fascinating’.
‘Each year we have a ceremony at the factory, to mark the occasion that our founder, Ichabod J. Stevenson, had that vision from god. And they bring out the first Punch hole. It’s kept in a museum, you see, because it’s the size of a small car, this thing, steam powered, and it has to be kept under tight security ever since it killed that chap a few years back. Since then, of course, we’ve all been told not to wear ties or scarves around it’.
‘And this is in Idaho?’
‘Yes, sir’.
Bum Bag Man goes to put a piece of Danish pastry in his mouth but misses and it goes on the floor.
‘So, are you on holiday, here in New York?’
‘Well, sure, kind of. You see, I just broke up with my girlfriend’.
‘Oh, I’m sorry to hear that’.
‘We were in the mall. There’s this mall near our town, it’s only a two hour drive away, I’d gone to buy a new phone but when I got there, they only had it in pink. And she laughed, can you believe that? She didn’t feel sorry for me or anything. She just laughed. So there we are in this mall in a suburb of Boise, and she’s just laughing because the phone I wanted was only available in pink. So I ended it. That’s a kind of toxic relationship right there, isn’t it? And I’m any case, she never cared for punch holes. She was a receptionist at a dental surgery’.
‘And you’re here to get over it?’
‘No sir, I’m here to find a new girlfriend. It’s a city of sin, that’s what my pastor says. So if I can find someone, turn them away from sin and towards the wholeness and goodness and purity of Ichabod J. Stevenson, then maybe I’ll be a happier man’.
‘Good luck ‘.
‘I’ll need it. At the moment I’m in my hotel room every night, sobbing.’
‘You’re sobbing?’
‘Oh, yes sir. But I know my time will come. It has to. There’s someone out there for everyone’.
‘Indeed’.
Roland imagined this strange lone figure, miles from his Idaho rural community in a busy city, beaten down by life and lonely, and he started to feel sorry for him. Indeed, if it weren’t for a few subtle differences here and there, they could almost be the same person. Roland had long ago given up hope of finding love himself, and the love that he sought was really no different to that of Bum Bag Man. The only real difference, as far as he could make out, was that Bum Bag Man was wearing a Bum Bag, or fanny pack, as the Americans tended to call them. How could anyone truly be respected if they’re walking around wearing a fanny pack?
Roland looked down at his black coffee. It was starting to go cold. The street outside was as busy as ever. The ability of some people to overshare always made him somewhat uncomfortable and he decided that it was time to move the conversation on to himself.
‘Well, I suppose I had better be going. I’ve got a show tomorrow night and I need to rehearse. Because when you’re headlining at the Duplex, you’ve got to be on top of your game’.
Thus leaving the door open for an inquiry from Bum Bag Man. How could anyone resist such an invitation?
It doesn’t work.
‘Nice to meet you’.
Bum Bag Man hops down off his stool and goes over to the corner where a young lady is working on her laptop.
‘Hey’, Roland hears him say, ‘Is anyone sitting here?’

Two lone souls in a city of infinite busyness, instant forgetting, a machine bigger than any one person, millions of lives, millions of stories, aspirations and dreams. The present moment is but fleeting because the city never stays still, it’s streets smoothed by centuries of souls vibrant one moment and vanished the next. How many others will come and go, how many others will visit this pounding metropolis only to disappear to their own lives once more? Chewed up, spat out, forgotten?
Roland walks back to the boutique hotel and he thinks of Bum Bag Man, and then he thinks of the ex soldiers and sailors who populated the flophouses of skid row, their lives in tatters, destitute and miserable. He gives the receptionist a weary smile as he passes by, climbs the stairs and feels the undercurrent of misery on which the city has been built, the bones of those who did not succeed the foundations on which every other layer has been placed, individuals blinked out never again to be remembered.
He sits on the bed in his cabin and lets out a deep, deep sigh. It all seems so pointless. Not just the present moment and his reasons for being in manhattan, but everything. History is created the second that a moment has passed. He has anticipated the gig at the Duplex for so, so long, but now it was finally close and the anticipation had mutated, changed to a realisation that everything will be forgotten. The generations pass and they never look back. History is an inexorable dance. How else might he approach each day, but with the sense that he will vanish one day, and nobody will ever notice.
The world is a place of misery and hopelessness.
And then Chuckles starts laughing quietly, to himself. And this makes Roland laugh. And then he thinks about hole punchers and he laughs some more. And soon the two of them are laughing, and then the man in the cubicle next to his starts laughing too. And the lady across the corridor. And another lady. And soon, oh yes, within seconds, everyone is laughing.

Shadow Factory and Robert Garnham : In the Glare of the Neon Yak

I first heard a jazz band in Totnes called Shadow Factory a couple of years ago and I was immediately hooked by their style, their experimentation, their reinterpretation of classic songs and by their wonderful original material. They sound absolutely amazing and they are lovely people.

So I was completely blown away when they asked if their could write some original music for my show from last year, In the Glare of the Neon Yak, with a view to a live performance!

Ladies and gentlemen, it gives me a huge honour and thrill to announce that I will be teaming up with Shadow Factory for a special performance of my show in Totnes! This will be a really special evening and I hope you can come along!

In the Glare of the Neon Yak is a riproaring piece of spoken word storytelling set on a sleeper service in the middle of winter. A train full of circus performers are being stalked by a mysterious entity which seems to mean more than just its eerie manifestation. A portent, an omen, the Neon Yak symbolises dark times. Will our hero find love? Will Jacques, the tight rope walker, get back together again with his ex, the circus clown? Does the secret of the Neon Yak lie in the hands of a randy old lady? Has the buffet car run out of sausage rolls? Will Tony the Train Manager find where they’ve put Carriage F? An hour show combining poetry, storytelling and music, In the Glare of the Neon Yak is the sparkling new show from spoken word artist, Robert Garnham.

Tickets can be purchased below.

https://www.totnespulse.co.uk/product/in-the-glare-of-the-neon-yak/

Spout, the official trailer

So yesterday I spent most of the morning on Paignton beach with film maker John Tomkins, making the official trailer for my new show, Spout. Naturally it’s not every day that you sit on a beach in a teapot hat, but I think I was very professional indeed. And the people passing by seemed to enjoy what we were doing!

Anyway, here’s the trailer. Spout debuts next week at the Barnstaple TheatreFest and then moves to Guildford, Reading, Denbury, Bristol, Torquay and Totnes before rolling into Edinburgh for the fringe.

An Interview with Jamie Harry Scrutton

Jamie Harry Scrutton is one of my favourite spoken word artists. I first saw him in Manchester at the wonderful Evidently show, where I was co-headlining. Jamie got on stage and performed a poem about Mr Muscle, and it was so utterly unlike anything I’d ever seen. We soon became good friends and I have invited him down to Devon to perform on numerous occasions, where he always wins new friends with audiences with him whimsical musings. Jamie also combines animation with his spoken word, creating a wonderful and very unique mix which has to be experienced.

How did you first get in to spoken word?
I have always had a passion for creative writing but I have never adapted my work in to performance material. I catered my work for publication opposed to physically showcasing them through performance. I have been sending my writing off to various publication outlets since I was twelve years of age. My first submission and first rejection was from The Parragon Publishing House based in London. They responded by letter, reverting me to the book “The Writer and Artists Yearbook” at my local library, where I discovered various other outlets to try and place my work. At the time, I was submitting a Short Story Collection titled “The Complete Short Diary Tales,” which was based on various fictional characters, portraying their life experiences, contained in a diary form. At the age of 15, I fell into Poetry. By the age of 16, I found myself writing rather whimsical verses, which I subsequently began performing at the of 18 and still continue to perform to this day, at the tender age of 29!

When you think of ideas, do you see them initially as poems or animations?
Sometimes, I do write for the purpose of adapting the anecdotes in to Stop Motion Animations but more often, the process is about creating a concept to marry with the character, which would materially be based on observational life.

How long does it take to make an animation?
It depends. I would say between 2-4 weeks. My first Animation which I created titled “MANBUN” took me just over a week to make. The process was consistant 12 hour shifts, delved in to the art of making.

How did you learn the processes to make an animation?
The process came naturally, really. I wanted to create a Short Film which would be different to what I originally would create. I wanted to represent my Fine Art craftmnaship and produce a Film which would visually tell the narrative through a literal fictious character. This is where “MANBUN” rooted from. I filmed a side profile of me narrating the Anecdote and then Sketch by Sketch, I traced over the video to make the Short Film. In the end I must have produced apporximately 900 sketches. I am still learning, adapting and progressing the Art of Animation through to this day. I always birth new processes, in order to be different from my previous Animation.

Who are your influences?
Pam Ayres is definately an influence. I am always inspired by life, pretty much all of the time. Obviously Robert Garnham is a huge inspiration and a very good friend of mine too!

Do you think of the character first, or the story which they tell?
Usually, the story would be the seed and the character would be the plant. I would take a situation from everyday life and then create a character which would then morph the whole narrative of the Anecdote. More often, it could be the other way around.

What does the future have in store for you?
I will be releasing a DVD titled “The Animations of Jamie H Scrutton – Volume One” sometime in January 2019, which contains all 12 Animations of mine. I will be releasing an Animated Music Video I have produced for a brilliant Spoken Word Artist and very good friend of mine named Lence. The Animated Music Video is titled “Heard” and we will be releasing it on the 8th January 2019 at Kino 101, based in London. Another Animation of mine titled “My Husband Has Booked Our Funeral” has been selected to be screened at The Horror On Sea Film Festival on the 13th January 2019, based in Southend On Sea. I am in talks of creating a comedic Music Video for another good friend of mine in the new year. Also, I am planning to take a bit of time out from spring 2019, in order to create new future projects. I am planning to visit Leicester again and refilm three of my student Short Films at the end of 2019 in commemoration of 10 years working in Film. One of the Films will be “Havisham,” where I will be reprising the role of the deluded Miss Havisham. They will be a twist of Animation in all three pieces and the processes I have learned within film over the past decade!

Much Ado about Muffins

Much ado about muffins

A stark yellow light bends oblong from
Faux Edwardian windows
Illuminating each individual cobble of the
Pretend medieval street.
A sign hangs and creaks in the autumn breeze,
An antiquated font black on white,
Much Ado About Muffins.

Derek Dubbins is on duty, dour, he damps down
The desk with a bleach soaked dishcloth,
Rain-macked tourists huddle in the doorway
With rucksacks the wrong way round,
Derek sneers, scrubs harder, his knuckles whiten
While his regular clientele read the Daily Mail
And nod in agreement with the letters to the editor.

This is not the sort of place
Where you might ask for soya milk,
A traditional establishment
Harking back to a past that never was,
A display cabinet of scones,
Jam tarts, a framed photo of Margaret Thatcher
And another of that mad orange-faced gibbon,
You know the one,
And Derek himself, gammon red and
Incensed by subjects as diverse as breast feeding,
Health and safety regulations,
The rights of minority groups,
Croissants.
Nothing makes his blood boil more than the expression,
Live and let live.
In short, he’s a bit of a cock.

But Brad does not know this, Brad,
Eager and carefree and delicately attired
In a plain white tshirt and three quarter length trousers,
Converse all stars with no socks, Brad,
Sunny demeanour, a fervent believer
In the goodness of other souls,
Though quite possibly wearying after the
First ten minutes,
Brad lays his slender and manicured fingers
On the freshly bleached desk and says,
Would it be possible to order a wedding cake?

Why of course, says Derek,
Who’s the lucky bride to be?
Oh, replies Brad, that would be me!
Then let’s out a laugh,
Or my partner, my love, my other half,
Bradley.
What?, Derek asks.
Yes, I know, I call him Bradley
Because otherwise we’d both be called Brad
Nothing worse than shouting out your own name
During an orgasm!

No, he replies,
No, he replies,
No, no, no.
I don’t need your custom here.
I don’t need your cash.
Your ways and whims
Make a mockery of my beliefs,
Just go, just dash,
Before I call the police!
And brandishing his stainless steel cake tongs,
Derek watches
As Brad takes leave.

Silence descends upon Much Ado About Muffins.
Nervous cleared throats
And the occasional rustling
Of the Daily Mail.
All
Is as
It should be.

The dead of night.
A moonless midnight,
A silence so deep it stuns.
The kitchen refrigerator
Quietly hums.
Derek slumbers under his duvet,
Dreaming dreams of a new day
Where people know their place,
How great life would be
If everyone were like he.
He imagines a world without . . .

Fairies
Appear at the kitchen window,
Their dainty wings beat softly on the pane,
Each one emits an iridescent glow
Which sparkles, moves,
They let themselves in
And flutter round the room,
Twelve of them
Waving their magic wands,
Light as air.
Gary, Bruce, Dave, John, John, Roger,
John, Dave, Bruce, Gary, Roger and Sebastian.

They land on the marble work top.
Ok, girls, says Bruce,
You know what to do.
We’re here to celebrate
A love that’s true.
Let’s use our fairy dust
And bake with all our might
And feel proud of our efforts
At the end of the night.
Let’s get to work, let’s light the lamp,
It’s like then shoemaker and the elves
But a little more camp!

Ok, girls,
Let’s do this!

They make the base
They drain the dregs
They roll and kneed
They beat the eggs.

They laugh and joke
They take a risk
They craft and cook
They cut and whisk

They stir and mix
And prod and bake
And ice and fill
The wedding cake

And there it stands
So tall and glad,
Congratulations
Brad and Brad. Ley.

The fairies sit back and gaze at their efforts.
A triple tiered masterpiece with icing gently
Soulful like a rococo palace,
By turns baroque and stately, it stands as a
Testament to the love which
Propels the planet itself throughout its lonely orbit.
We shall bring Brad first thing, says Bruce,
Show him his cake, and then,
Our work here will be done.

At that moment the fairies hear
The trundling lollopping footsteps of Derek
On the old rickety staircase, and his
Baritone voice booming,
Fe, fi, fo, fum,
I’m off to have a dump.

Derek spies a suspicious sparkling,
Creaks open the kitchen door,
And there before him, the wedding cake
In all it’s majestic splendour,
The words Congratulations Brad and Bradley
Spiking his heart with a vengeful angst,
He goes bloody ballistic.
Tears into the fresh frosting and flings it, frantically,
Out the back door and into the yard
Where it lands next to the recycling bins.
He turns and stamps back up the stairs,
Stampy stampy stampy,
What an absolute bell-end.

Well, ladies, says Bruce,
No use standing round here all night
With a face like a slapped arse.
You know what to do, my lovelies.

They make the base
They drain the dregs
They roll and kneed
They beat the eggs.

They laugh and joke
They take a risk
They craft and cook
They cut and whisk

They stir and mix
And prod and bake
And ice and fill
The wedding cake

And there it stands
So tall and glad,
Congratulations
Brad and Brad. Ley.

Again, the fairies stand back to admire their efforts.
In divinity does the cake
Seem to defy gravity, its delicate frosting
Reminiscent of a winters forest,
And equally ethereal the finely spun sugar lacing,
Like dew on a spiders web,
As tentative and timeless as love in all it’s glory ,
Less a cake, and more a hymn to matrimony.
We shall bring Brad first things they say,
So that he can pick up his cake, and then,
Oh then, our work here is done.

At that moment, bugger me,
The trundling, lollopping footsteps of Derek
On the old rickety staircase, and his
Baritone voice booming,
Hey diddle dee dee,
I’ve come to have a wee!

A moment or so later the second cake
Joins the first in the back yard next to the recycling bins,
Which he never uses anyway,
And most of the fairies can see a pattern forming.

Alright, says Bruce,
We’ll have one last crack at this.

They make the base
They drain the dregs
They roll and kneed
They beat the eggs.

They laugh and joke
They take a risk
They craft and cook
They cut and whisk

They stir and mix
And prod and bake
And ice and fill
The wedding cake

And there it stands
So tall and glad,
Congratulations
Brad and Brad. Ley.

For a third time, the fairies stand back,
For the cake is a corpulence of crusted creams,
Daintily drizzled with delicious dustings of sweetness,
White with ice frosting, a triple layered dream
Held up with Corinthian columns, finely sculpted
Decorative dainty Daisy chains,
It stands as a hymn to love, a monument to
The deepest adoration, the passion
Which keeps us all from going insane.

A door opens upstairs,
Followed by the trundling, lollopping footsteps of Derek
On the old rickety staircase,
Tiddly om pom Pom,
I think I’ve got the runs!

There’s silence.
He pushes open the kitchen door,
He sees the cake in all it’s majesty,
Congratulations Brad and Bradley,
And just as he’s about to lunge,
Bruce, the fairy,
Suddenly appears right in front of him,
Lit up in ethereal light in the dark of the kitchen light.

Arghhhh!, says Derek.
You!, says Bruce.
Keep away!, says Derek.
What the fuck are you, I mean,
Seriously!

I am the Ghost of Christmas Past, says Bruce.
Really?, says Derek.
Naaah, says Bruce.
Keep away!, says Derek.
Keep away, keep away!
Just what do you want from me?

The fairies surround him, but there’s no menace.
The glow of their wings flits across the ceiling,
Iridescent magic reflecting back from pots and pans.
We want you to love, says Dave.
We want you to cherish life, says Jim.
We want you to open your eyes, says Bruce,
And see that there’s so much else beyond
Your faded jaded introspective worldview.

Love is a dream for many.
Love is a ludicrous nonsense.
Love is the aim of every soul.
Love should never be banished.
Love is a celebration!
Love is the glue that keeps us all sane,
Love is more than just a game.

And love does not care for labels.
Love is a miracle whenever it occurs,
A passion shared is doubled, and it spreads,
Soars, fills the world and builds it up.
There were generations who couldn’t,
The world rattled with their silent screams,
It happens today in places less free,
Hearts torn in twain by the thunder of disapproval,
Lives ruined amid the scream of self righteous bullies.
He who stands against love
Stands against life itself.

There’s a magic in the air
As Derek feels a weight lifted.
He sees the world anew, then stares
Deep into his own soul,
Shudders at what he sees,
Deafening and darkness and the Daily Mail,
Hatred dictated by front page opinions
And the need to appear big.
You’re right, he whispers,
Love shall be celebrated,
And I’d be proud to play my part.

At that moment, a lonely sunbeam
Slants through the window, signals
The dawn of a new day,
And In walks Brad, accompanied by
Gary, Roger and Sebastian.
Proudly, and with a tear in his eye,
Derek announces, here,
With all the blessings of my humble tea shop,
And with honest and newfound best wishes
For a happy life together,
Please accept this
Splendid wedding cake.

Brad smiles, and leaps for joy,
Then bends down and inspects the cake carefully.
That’s very sweet of you, he says,
And it’s a beautiful cake,
But I have a wheat intolerance
And Bradley is allergic to dairy products.

One year as a semi professional spoken word artist

So it’s been almost a year now since I went semi professional and things are going well. I’ve done some amazing things and had some great opportunities, and I’ve glimpsed what it’s like to be a professional self employed artist, and how tentative the financial side of things can be. I feel like I’ve never worked harder. Every decision has to be made with a financial head rather than the usual emotional impulse to do something, whatever the consequences. The admin has taken over my life, in that there are days when I spend hours on end just filling in forms and understanding how things work.

All of this has left me with a deep admiration for those who are full time self employed creatives. We only seem to celebrate them when things go well, when they win big commissions or competitions, when they appear on Britain’s Got Talent and amaze the audience, or win poetry slams, or get parts in plays and films. What we don’t see is the frantic administration behind the scenes, the hours of self doubt and the incredible practice and industry these people put in to get something back.

For me, the result of being self employed is the idea that I have to choose my projects carefully. Every now and then something comes along which I really want to do, but I have to weigh up whether or not if will be a good use of my resources and money. I can no longer flit to a gig the other side of the country just to do an open mic slot like I used to in the old days, because if I did then I wouldn’t have enough money for the rest of the month. However, if I could combine it with another project which makes it financially viable, then I would.

One of the most surprising aspects of being self employed is the fact that I get commissions every now and then. I’ve written bespoke poems for people, for weddings and anniversaries, christening and parties. This week I had a commission and while I was in the shower, some great rhymes came. I went to my desk and spent an hour carefully crafting a poem in memory of someone’s grandmother and was just about to send it to them when I checked the original email. I’d got the name wrong. The real name didn’t even rhyme with anything I’d written. Looking back now, iT was rather comical.

So over the last year I have put together a brand new show with all new material, and taken myself out of my comfort zone with storytelling, serious material and a one hundred percent polyester ringmaster outfit, and then toured it around the UK. I’ve hired small theatres and venues and put together the gigs myself. I’ve taken over a regular spoken word night in Torquay. I’ve become the editor of a comedy online journal, and I’ve been employed as the social media manager for a more serious poetry magazine. It’s been quite a year.

So of course, I’m still semi employed. I still have a job for most of the week, which is where I’m off to now. But the progress I’ve made over the last year fills me with hope, all I need now is to build on what I’ve done, and who knows, there’ll be no stopping me!

Why identity is powerful and necessary in spoken word.

Whenever I do any sort of work promoting myself in the spoken word community, invariably, I plough through photos and pictures that I’ve had taken specifically for the purposes of giving the audience a flavour of who I am. In such a way I hope to create a definite identity. Yet the more I do this, the more the created stage character who stands as an avatar for the real me moves further away from who I actually am.

For years now I have worn the same types of clothing and glasses when performing. These are not the sort of clothes I wear on a daily basis. They create an image, a kind of slightly less fussy Alan Bennett, except with thick frame glasses and perhaps a sequinned hat. And perhaps even, if you’re lucky, a feather boa.

Identity is a very important aspect of the spoken word community. Through words and images, poets assert themselves, their beliefs, their backgrounds and characters. Their promotional photos tell potential audiences the kind of thing they might expect from their work. Performance poetry and spoken word are the vessels many poets use in telling their stories, or asserting their right to be individual, different to whatever the norm might be.

This was something that I’d never encountered before I got into writing and performing. As a young gay man living first in suburban Surrey, and now the south of Devon, I was always aware that I was not an average person and did not fit into the heteronormative definition. Yet a part of me wanted to quell whatever difference there might be, hide it behind layers of what I assumed were respectability. Just because I was a gay man, I did not necessarily want the world to know this, an odd hang up from a childhood lived in the 1980s, before a time of gay pride, when Section 28 was legislation, and homophobia was both normal and expressed often.

The world has changed since then, or at least, British society has changed. Things are still not perfect, but it’s much easier now to assert a certain divergence from the norm. Or perhaps the norm itself has been exposed as a lie.

The last few months I’ve been having several conversations with myself about gay content in my poetry, and gay imagery in my presentation of it. Every now and then I have a tendency to write a poem in which I purposefully hide my sexuality, and I have no idea why this is. Naturally, there are a lot of poems I’ve written and performed in which LGBT issues are not the main focus, or even touched on. But then I tell myself off, and remind myself that it is my duty as an LGBT poet to help normalise a marginalised community, and that I owe it not only to my LGBT heroes who came before and did so much to help us get in to this situation, but also to the many other poets, performers and writers who assert their identity and do so with pride.

So there’s this social editor at the back of my mind which intrudes often, and the best material invariably comes when he is banished or ignored. So yes, I’ve been censoring myself, but from who? I tell myself off, and remind myself that the fight is not over, and that there are places in the world where the freedoms I enjoy are not taken for granted, or even permissible. In spite of everything, I, and many of my spoken word colleagues, am still an outsider. Identity is a powerful thing.

On not being in it for the money.

The moment I go on stage, I know what the audience are thinking. They’re thinking. now theres a man with a smug demeanour. There’s a man who’s not in it for the money.

There’s a man who forsakes the capitalist system and does not perform poetry for personal monetary gain.

Well let me tell you, I got books for sale.

I tried to write a poem about an old photocopier last night. It just wouldn’t scan.

I don’t need contraception. Poetry is my contraception. My poetry has helped me not sleep with more people than you can imagine.

So, what is poetry? Percy Bysshe Shelley said that poets are the ‘unacknowledged legislators of the world’. I suppose the ‘acknowledged legislators ‘ would be governments and town councils.

To be honest, I don’t think it would work. Have you ever seen a group of poets trying to solve a planning dispute?

I suppose it depends if they work in rhyme or blank verse.

Well, I think we’ll put the school next to the pool. And perhaps also the church hall.

The shopping centre. Hmmm, can’t think of where to put the shopping centre. I know! Let’s call it a mall, and then it can go with the school and the pool and the church hall!

The library. Hmm, has this town got an aviary?

The food waste refuse anaerobic digestion chamber . . . What the hell?

Mind you, judging by the high street in Swindon, it looks like the surrealists have already been at work.

So I’m a poet, and I get all kinds of weird commissions. Sometimes I think that my career is going nowhere. Sometimes I don’t.

I’ve recently been working as a Poet in Residence at a paper clip factory. It really is stationery.

I was supposed to do a workshop for a fear of commitment support group, but nobody put their name down.

The other night I was double booked, I was also meant to be at a gig for a group of amnesiacs. So what I’ll do is I’ll go along next week and remind them how good I was.

I’m actually looking for ways out into other lines of work and I think I’ve come up with a winner. I’ve decided to start up assertiveness training courses.

Because if it doesn’t work, nobody’s going to ask for a refund. They won’t be brave enough.

And if anyone does ask for a refund . . .

I can just say, well. There you go.

But poetry for me is a lot like sex. When it’s good, it’s very, very good and you wish it would never stop.

And when it’s bad, it’s just plain embarrassing. Although I do get roughly the same number of laughs.

The thing I like best about poetry is that it’s not all about profit and personal gain, it’s not a hugely capitalist enterprise, people aren’t in it to make a quick buck. And by the way, I’ve got books for sale.

I really like my nipples.

Poem

I really like my nipples.
They’re kind of parallel.
The man who delivered the pizza last night
Said he liked them as well.

I stare at them in the mirror
For hours and hours in end
Singing, look at them there
All nipply nipply ever so tripply
Skippitty dippity doo
Which is how I got banned
From Primark.

The distance between
Male nipples
Equates to the size of their you know what
Equates to the size of their you know what
Dean used to say to me,
Boy, yours are so close
They’re making me cross eyed.

Crumbs from my crusty cheese roll
Get flaked in the forest of my chest hair.
As I brush them off
I accidentally touch a nipple.
Oh yes, I shout,
I forgot I had those!
Hubba hubba.
It’s how I lost my job
As a primary school teacher.

The box full of penguin nipple tassels
I sent to the Antarctic
Was sadly returned unused
I just thought
They would brighten up the place.

I dipped my nipples in paint
And tried to use them to draw
A map of the London Underground.
The Swedish tourist said,
It’s ok, I’ve got a leaflet somewhere.

I call my left one ‘Wayne’.
The right one doesn’t really
Have a name
They both look the same
And what really is a shame
Is that I can’t bend down
And lick them.

Darts players have got them.
The man in the newsagents has got them.
My friend Pete says he’s got six.
The train conductor this morning said,
Show me your ticket,
And I said,
Show me your nipples
And he said
There’s only one tit on this train.

My left one is pierced.
It’s where I keep my keys.
I come and go with ease.
They jangle when I sneeze.

He asked me out!
He asked me out!
The man of my dreams
Asked me out!
I put my hand down my tshirt
And had a good fondle and thought
You know what?
I don’t really need him.
Lol.