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dustedmagazine · 2 years

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Punk’d History, Vol. IX: Other People’s Misery

It’s perversely apt that the stream of Danny Boyle’s Pistol (2022) I watched on Hulu was sponsored in part by HelloFresh, the meal prep and delivery service. The sponsor’s emphasis on health and safety (no more pandemic-vulnerable treks to Trader Joe’s!) initially seems completely wrong for a miniseries that engages, docudrama style, with the story of the Sex Pistols, who were not famed for their hygiene or prudence. But you don’t have to watch too far into “Cloak of Invisibility,” the first episode of Pistol, to be bemused by the show’s cleaned-up, glitzy visual aesthetic. All the soft-focus shots, the dayglo colors and beautiful people (Thomas Brodie-Sangster as Malcolm McLaren, Anson Boon as John Lydon and Maisie Williams as Pamela Rooke, AKA Jordan, are particularly provoking casting choices) accumulate, issuing in a vision of mid-seventies London that’s a poor interpretation of punk’s cankered and pimply face. Hello? Fresh? What about “Piss off!” or “Rotten”?

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Likely Boyle is the wrong fellow to be telling this tale. Pistol is redolent of the filmmaker at his most razzle-dazzle, dynamically spastic and sappy — perhaps even more so than A Life Less Ordinary (1997) or Millions (2004). The series’ stylistic tics are both somewhat trite and nostalgic for the wrong period: they evoke the mid-1990s of Irvine Welsh’s rave-and-MDMA-inspired textual oversaturations, which is also the period of Boyle’s breakthrough film, Trainspotting (1996), an adaptation of one of Welsh’s better novels. Much of Pistol takes place in night-time London, but the dark alleys and dank pubs are shot through filters that make the streetlights glisten prettily and the shadows resonate with metropolitan cool. Some gobs of spit fly, but we never feel their warm, slimy impact. It’s all too elegantly managed, too produced, to feel dangerous.

Critics have not been kind to Pistol, justifiably so, and other writers have already inventoried some of the series’ more problematic departures from the band’s well-documented history. I’m not interested in adding to that itinerary. Rather, I want to think about the series’ flabbergasting inability to understand punk and its social situatedness. It amounts to truism to note capital’s insidious ability to accommodate modes of resistance, to convert them into new markets or commodity forms. That doesn’t make the observation any less true, but Pistol’s narrative of the Sex Pistols’ miserable descent into industry and celebrity has nearly nothing new to tell us. It’s a settled fact that McLaren was largely responsible for coordinating the phenomenon called the Sex Pistols; it’s less clear that Steve Jones’s “damaged” psyche, which operates as a sort of narrative stand-in for the other band members’ social alienation, should be understood as the vulnerability that allowed for McLaren’s rank manipulations of the band. More emphatic and unwieldy is Pistol’s ham-fisted “humanization” of the band’s legend, and the worrisome way that humanization packages the series as saccharine trauma culture — which makes it sadly typical of our current cultural mood. It also mollifies the force of the Sex Pistols’ music, and that’s a very bad thing, indeed.

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We might begin with Pistol’s treatment of “Bodies.” Unlike some other reviewers, I wasn’t put off by the introduction of the character Pauline (Bianca Stephens), a real, psychologically troubled woman whose multiple abortions inspired Lydon’s lyric for the song. Her inclusion suggests that punk happened in a broad context, that multiple sorts of people were drawn to its negations and antically violent energies, that the damage was social. Pauline appears in Pistol’s third episode, also titled “Bodies”; it features numerous shots in which the 1976 bin men’s strike (an event presaging the longer and more awfully spectacular Winter of Discontent, of 1978-79) resulted in mounds of trash in ubiquitous black bags, moldering throughout the city. The mounds are a welcome bit of set-dressing in Pistol, gesturing at the economic conditions at work in the UK and forecasting the rise of Thatcher and Tory austerities to come. But Boyle understands the heaps of black bags differently. In the episode, they are symbolic echoes of the handbag Pauline clutches obsessively — which, we are given to understand, holds the decomposing remains of her aborted fetus, which she dug out of the hospital trash. The episode’s narrative logic narrows perspective. Rather than engaging the nation’s socio-economic conditions and all the proliferations of waste that inevitably result from late capital’s overproduction, Boyle insists on the significance of individual trauma.

Elsewhere in the episode, the garbage bags become a sort of playground apparatus, as the Bromley Contingent leaps into a pile of them in a fit of post-gig prankishness. Any smell of rot is canceled by the kids’ whacky laughter, their bodies’ diving delight. Still, “Bodies” is hard to domesticate. The song’s opening notes lurch and growl, among the most threatening sounds on Never Mind the Bollocks (1977). Even if it hadn’t contained the ecstatic “Fuck this and fuck that” mid-song break, “Bodies” would be a remarkable punk tune. Boyle mobilizes its menace to dramatize the four young musicians’ increasing confidence and swagger. Again, in a potentially useful move, he situates his recreation of a live performance of the song at the 100 Club Punk Special, the September 1976 two-day show that also included the Damned, Buzzocks and Siouxsie Sioux’s first gig. But none of that crucial cultural context is noted. We see Pistol’s version of the Pistols on stage, playing the song in brash attack, and we hear Chrissie Hynde (Sydney Chandler) confirm their arrival: “They’re playing as a band.” In the scene, the song’s vituperation and ugliness are transformed into small-scaled triumphalism. It’s completely tone deaf.

But the series can’t seem to help itself. Among the most irritating sequences in Pistol is a depiction of a brief beachside sojourn during the 1976 tour of Northern towns. The scene starts promisingly enough: along the coast, the band exits their van, and Jones asks, “What’s that sound?” It’s the sea, and the fact that Jones is unable to identify the noise of the tide has an effective simplicity. Immediately we understand it as a marker for his impoverished childhood, the claustrophobic enclosure of his London lifeworld. It’s a moment of class consciousness. But Boyle can’t let the moment breathe and be. The rest of the band mocks Jones’s ignorance — which is fine, of course they would. But he takes off in a mopey huff, and it’s up to Glenn Matlock (Christian Lees), of all people, to seek Jones’s side on the pebbly beach and bond over their common working-class marginality and the way it twisted their childhoods. Soon Paul Cook (Jacob Slater) and Lydon come roaring in, and the foursome frolic, wrestling and playing in the surf. One suspects it’s meant to be touching, a moment of quiet sentiment followed by the recovery of boyish joy. But it’s cloying and false. And worse, it converts the immiserations of urban, working-class experience into cheaply achieved dramatic catharsis.

Some punks, like Jones or Dee Dee Ramone, really came from abusive families, and were primed for raging rebellion. But others equally influential, like Greg Ginn or Lydon himself, came from loving families that encouraged their kids. There are flashes of that in Pistol: scenes of Cook’s drumkit set up in his parents’ bedroom, in which he would practice (“Fifteen more minutes?”); of the band playing the single “God Save the Queen” for the smiling Lydons; and of Vivienne Westwood at work in her home studio, screen printing shirts with her children. In surprising fits of cinematic restraint, Boyle shoots most of those scenes fairly straight, without the irritatingly skewed camera angles or expressionist lighting. They are more compelling for it.

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But it’s the damaged kids who get the most — and the most luridly insistent — attention in Pistol. When Sid and Nancy show up in the fifth episode (titled, inevitably, “Nancy & Sid”), they promptly proceed to dominate the narrative. It’s not the worst choice: as Nancy Spungen, Emma Appleton provides one of the series’ best performances. Convincingly crass and moronically guileless, she exudes a desperate need. Again, Pistol can’t help itself: Craig Pearce’s script needs her to sag into childish innocence, curled up under a crocheted afghan in Chrissie Hynde’s apartment; or explicitly narrating for Jones the circumstances of her sad and cruel upbringing. None of that is quite as manipulative as poor Sid (Louis Partridge) sitting in a desert chapel, somewhere between Texas and Frisco, quietly singing, “Yes, Jesus loves me” — seriously, Boyle, Pearce and a whole bunch of other folks thought that scene was a good idea. At least Appleton makes the lugubrious, mawkish moments she must play watchable, through her sheer talent.

Nancy’s gaudy presence, barely containing all her agony, is overdetermined: the overarching theme of Pistol seems to be that punk is a response to trauma, a species of acting out, inextricably linked to individual pain. An alternative theory — that the art and culture may have something to do with ideology, politics and social struggle — is kneecapped by the bullshit sloganeering and self-important philosophical wankery of McLaren, a cartoon rendered insufferably more cartoonish by Brodie-Sangster. The idea that punk might have significant origins outside of Westwood’s Sex shop is similarly poisoned by its source: Nancy’s slobbering account of Richard Hell’s style and songs. We hear only a worshipful, ditzy groupie, when we might somehow have been presented with a more useful report of New York’s hugely important early 1970s scene. And the series never shows us the barest glimpse of the great Ian Dury or Poly Styrene or the University of Leeds kids that would go on to form Gang of Four and Mekons. The only sources and signs of punk that Pistol can acknowledge are McLaren’s cynicisms, Lydon’s gerning and Jones’s guitar.

To be sure, the Sex Pistols became emblematic of punk. But there were multiple vectors and sounds that opened the musical and artistic genre. And there was more than enough suffering to go around in the mid-1970s, with its recessions and wars, its awful, real-life scenes of counter-cultural collapse. Eventually the band gets to America and San Francisco, once the site of revolutionary agents and bloody events, like the Diggers or People’s Park. By that point in the story, the series has essentially tapped out, drained of energy and splicing in footage of the real Sex Pistols to supplement the emptiness on screen. Pistol runs through the Winterland gig’s ritual enactment of bitter betrayal in about three minutes, then speeds its way back to Sid and Nancy and the abattoir at the Hotel Chelsea. It’s an unworkably constricted version of punk. The series’ obsessive inward turn, to individual wounds and scars, is a strange complement to our own inbent state in 2022: scrolling endlessly through social media feeds, fumbling at the boundaries of COVID bubbles, consuming hour upon hour of true-crime bloodletting (akin to the series’ gawking shots of Nancy’s corpse) on Netflix and Hulu and Amazon Prime — all those grotesque personalities, Bundy and Gacy and Ramirez and Candy Montgomery, too monstrous to seem anything but abnormal and titillating.

There are other things we might spend our time on. Turn off Pistol, for instance, and go back to the records. I’ve listened to Never Mind the Bollocks, Here’s the Sex Pistols a lot over the past few weeks. It’s striking how transporting much of it remains, after so many years and so many, many spins: the full-throated sing-along at the end of “Seventeen” (and Lydon’s glorious reading of “I can’t even be bothered”); the intoxicating, speeding riffs of “No Feelings” and the dirty churn of “Submission”; the opening thirteen seconds of “Anarchy in the U.K.” (I still shiver); every second of “Holidays in the Sun,” a (perhaps the) peerless punk song. If we listen just a little more closely, Johnny Rotten’s infernal sneer and grinning rictus can still tell us things. We may enjoy our “cheap holidays in other people’s misery,” but the bill will still come due at the doorsteps of those least able to pay.

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Jonathan Shaw

#punk'd history #jonathan shaw #dusted magazine #sex pistols #anarchy #documentary #danny boyles #disney #hulu

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charliefilmproject · 2 years

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Proposal of Intentions for "Regularity"

Lilith's screenplay "Regularity" tells the story of two regulars in a pub, whose friendship simply lies in their coexistence within the space. The two are part of the pub's furniture, but this relationship between one another and the space is confronted once one of the pair passes away.

Having lived above a 'local pub' myself, I am aware of just how much the people make the place - I am also aware of the restrained yet somewhat dependent relationship the regular men have with each other. Naturally, I was happy to be involved when Lilith asked me to DoP.

My idea for the visual style of this film fortunately aligns with some of Lilith’s initial ideas when she visualised the script herself; she is a big fan of Edgar Wright and his cornetto trilogy and this is certainly something we can borrow from in terms of the portrayal of the pub as a hallmark of British culture. However, given the dark thematic elements of the script, I think it is worth playing on some of the tropes we see in gritty social realism. I think that this film only works if the location aligns with this bleakness that takes place in the film. I think we should use camera to create a connection between Paul's death and the 'dying local'. I plan to use handheld camera and 'fly on the wall' tableau shots to instill a sense of documentary realism to the film, reminiscent of British kitchen sink drama. I also plan to use close-up shots of the decaying pub itself to reinforce the parallel between the demise of the pub and of Paul; peeling paint, framed newspapers from decades before, a dripping tap, etc. I also intend to use repetition as a key feature of the cinematography. I want to utilise this not only to present the regulars as an ongoing feature of the pub, but also to draw even more attention to the space Paul leaves behind once he dies - both the tableau shot and the two-shot of Paul and Dave will be repeated each day in the film. I plan to work closely with the production designer to ensure this repetition is functional without becoming, ironically, repetitive. Another source of inspiration for me is Danny Boyle’s “Trainspotting” and Ken Loach’s “The Angel’s Share”. Both of these films present the bleak reality of working class Scotland and share a visual aesthetic in their pub sequences; a place perpetually stuck in the past, presented through flat low-key lighting and a warm softness that connotes a stale feeling as opposed to a comforting ones. I want to use this in The Usual - muted colours which have faded as a result of unchanged design since its establishment, handheld camera, diffused light, etc. The other benefit of this aesthetic is it creates a greater contrast when we transition to the ‘dream sequence’ wherein Dave gets to pour his heart out and say goodbye to Paul. Lilith is keen for this sequence to be touching on the theatrical; we move from the dreary realism of the pub to the cinematic dreamspace of the same location. I am excited to play with lighting here, as again, I am keen to keep the shot types/composition the same, but now with the juxtaposition of surrealism. I want the colour temperature to shift to colder tones, as well as shooting the actors on a larger aperture and introducing a more dramatic key and backlight and eliminating most of the fill for high-key lighting here.

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scotwresnet · 5 years

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Here we are again with another SWN Fan Art Corner: Behind The Art. Let’s set the scene behind this fantastic piece…

If you go into Box Glasgow, an independent pub on Sauchiehall Street, lined up along the walls you’ll see paintings of the heroes and, in Begbies case, anti-heroes of Scotlands history and culture. They include the aforementioned Trainspotting crew including Begbie. Loveable old rogues Jack and Victor from Still Game. The ‘Big Yin’ Billy Connolly. Biffy Clyro’s Simon Neil. And ‘The National Bard of Scotland’ himself Rabbie Burns. The latest addition to this fine crowd of Scots will be a moving one as he was a regular in Bar Glasgow itself, so I’m told. Lionheart, Adrian McCallum.

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The artist, Lewy L who only spoke to Adrian a couple of times but long enough to know he was a very humble, down to earth guy, has just painted a portrait of the, sadly recently passed away, former Insane Championship Wrestling World Champion, which will grace the wall of fame in the the pub in the near future. He recalls a couple of memories for me of Adrian.

“I saw him wrestle loads of times yeah. In fact I was in Preston that fatal night he wrestled AJ Styles and the neck break happened.

I remember there was just this weird silence after it happened and people were running into the ring, wrestlers and promoter, then everyone was told to make their way outside. It was weird. We all hoped he was alright.

He was always cool to talk to. I had the honour one time of making a painting for him to raffle of for his wrestling company. I was glad to help him.”

“Obviously [I] was very sad, like everyone else, to hear of his passing. Such a shame.”

In regards to his own work:

“I’ve got to be honest I used to do loads of wrestling paintings but recently I haven’t been doing as many. I’m a bit uninspired by the mainstream wrestling scene at the moment and I feel that the Indies are the only thing worth watching these days. I was always a WCW guy and I watched some ECW also.

But I’m a big admirer of the Scottish scene. Some great up and coming talent there.”

You can find more of Lewy’s work on Instagram and Twitter @lewylpaintings

Thanks again for tuning in to SWN Fan Art Corner. More to come soon.

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If you have a Scottish Wrestling inspired fan art piece and would like to be featured, get in contact is with us

Instagram: @themaskedembroiderer Twitter: @TEmbroiderer Or email us [email protected]

Or use the hashtags #scottishwrestlingart or #scottishwrestlingfanart

Thanks again see you next time.

SWN Fan Art Corner #10 | Behind The Art: Lewy L

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scottish-wrestling-network · 5 years

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Here we are again with another SWN Fan Art Corner: Behind The Art. Let’s set the scene behind this fantastic piece…

This slideshow requires JavaScript.

“I saw him wrestle loads of times yeah. In fact I was in Preston that fatal night he wrestled AJ Styles and the neck break happened.

He was always cool to talk to. I had the honour one time of making a painting for him to raffle of for his wrestling company. I was glad to help him.”

“Obviously [I] was very sad, like everyone else, to hear of his passing. Such a shame.”

In regards to his own work:

But I’m a big admirer of the Scottish scene. Some great up and coming talent there.”

You can find more of Lewy’s work on Instagram and Twitter @lewylpaintings

Thanks again for tuning in to SWN Fan Art Corner. More to come soon.

–

If you have a Scottish Wrestling inspired fan art piece and would like to be featured, get in contact is with us

Instagram: @themaskedembroiderer Twitter: @TEmbroiderer Or email us [email protected]

Or use the hashtags #scottishwrestlingart or #scottishwrestlingfanart

Thanks again see you next time.

SWN Fan Art Corner #10 | Behind The Art: Lewy L

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pubtheatres1 · 5 years

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London Pub Theatres

London Pub Theatres by Heather Jeffery (first published 2016)

With 23 London pub theatres to choose from there is something to suit every taste, every night of the week. The range is staggering, from Opera to drama, from puppet theatre to musicals, comedy to improvisation, activist to experimental. With many plays lasting only one hour, there’s still time to catch some music, have a meal and, of course, have a glass or two. Virtually all pub theatres let you take your pint into the auditorium so you can relax and enjoy the performance.

One of the major points to these theatres is that they are a platform for work that you will not see in

West End theatres. At the same time, they are also a platform for theatre destined for the West End. It’s a great talking point, once the lights come up after the performance has ended, you can hear the buzz of the audience talking about what they have just experienced. A shared experience. This is one of the reasons a pub is such a great venue for theatre.

Some pub and theatre partnerships are more loving than others. Take the Jack Studio Theatre at Brockley Jack in well … Brockley. They have won several Off West End Theatre awards for the friendliest welcome. Also winner of Best Theatre Bar (south east) in The Off West End Theatre Awards 2015, the Brockley Jack has a great family vibe but it’s equally a place where you can feel comfortable even if you’re on your own. There’s always a welcome from the pub staff as well as the theatre staff. They have disabled facilities (ground floor theatre), smoking and non-smoking beer gardens, plus heaps of activities throughout the year. Artistic Director, Kate Bannister explains that “the productions are eclectic, polished or raw. There is a great atmosphere; people are genuinely supportive as all the performances are at different stages of development.”

Also outstanding is Bread and Roses Theatre at in Clapham. It’s under joint management with the company who runs the pub also running bars at Glastonbury and Latitude festivals. As Tessa Hart, the Artistic Director explains “We pay a very reasonable rent. The pub also benefits because the theatre brings in more custom. During the first year the pub had a 26% increase in sales.” One of their winning features is that they pride themselves on favouring diversity.

The one or two pub theatres that don’t work so well together do struggle. When it works well the pubs find themselves powerfully repaid, in repeat custom, pre and post theatre dining and plenty of mates coming along to support theatre events. At The Hope theatre the relationship works really well with all their logos featured on the windows which adds a vibrancy, a come-and get it appeal. AD, Matthew Parker says, “It’s brilliant working in a pub, wonderful”. He has built a great relationship with James the Landlord, based on mutual trust. That is what makes the difference.

Ticket prices are anything between £5 for start-up company shows to £25 for more established companies with a full production. The standard can vary enormously but the spirit is always to go along and try something new. It’s an opportunity to discover that radical new piece of theatre, or that extra-ordinarily talented actor.

You will often feel intimately involved in the performance. Tessa Hart, Artistic Director of the Bread and Roses Theatre (Clapham) puts it this way - “Pub theatres are very close to the people, very close to the audience; you can play into their eye. The pub is such a hub for the local community so to have a theatre just above that, it’s a really nice thing. You don’t get the culture of pub theatres in other countries, it’s something quite Britain specific.”

There is a can do attitude in the best of these theatres. At the Jack Studio Theatre one visiting company wanted water to shower over a 15-foot-long table. This needed a water tank, piping, a trench for collecting the water and expert timing. Karl, the manager at Jack Studio theatre said “The company did a terrific job. It looked spectacular.” They have to assess risk, and take safety measures. Sometimes they have to draw the line; they decided to say no to a flaming trench down the front of the theatre.

Most pubs and their theatres are under separate management and whilst they work well together, it’s a symbiotic relationship in which each party looks after their own interests. With theatres needing to raise £100,000 they have to be serious about tickets sales and fund-raising whilst expecting no revenue from sales of beer. Many pub theatres such as King’s Head and The Hope (both in Islington) have Friends Schemes which enables you to make a donation in return for priority booking, and other perks.

Pub theatre venues are very important as a showcase for Britain’s emerging talent as well as more established theatre professionals. It is a shocking fact that not all will get paid for their work. It is particularly encouraging therefore, that there are signs that more and more pub theatres and the companies who work in them are paying wages as their audiences continue to grow.

Indeed, many pub theatres gain accolades for the productions they mount or host, a whole firmament of stars. Some of the real powerhouses, which currently have productions which started at their venues but are now in the West End or touring are Theatre 503 above the Latchmere pub in Battersea (And Then Came the Nightjars), The King’s Head (Trainspotting and F*cking Men) and the Finborough in Earl’s Court (Operation Crucible and It is Easy to be Dead). These are established theatres with an excellent following.

Other established theatres whose productions progressed to be seen by a larger audience, are The Gate, and Old Red Lion Theatre (Islington). Along with the King’s Head Theatre, which was the first theatre to open its doors since Shakespeare’s day, ORLT is one of the oldest theatres. The pub itself, although tiny, is big on sport, frequently heaving with people. The tiny box office often has a long queue and don’t even ask about the garden.

At the other end of the scale are the new kids on the block, Theatre N16 (at The Bedford, Balham), and Bread & Roses. Jamie Eastlake (AD of Theatre N16) says he likes to do stuff which “sticks its middle finger up to things I don’t agree with, but like programming work that is just across the boards”. He thinks that “every good piece of theatre is political in a sense … we’re above a pub, isn’t that the place …?” Rebecca Pryle, manager of Bread and Roses says “it’s one of the last hubs of community pubs and then you’ve got the theatre crowd, different spaces where different people can be and it all works really well together.”

There are many fringe theatre festivals in which pub theatres make a big impact. The largest is Camden Fringe which started at Etcetera Theatre (Camden) which is one of the most valuables theatres for start-up companies giving them affordable opportunities to showcase their work.

There is certainly something for everyone, with options including Opera at King’s Head Theatre and musicals, at Upstairs at the Gatehouse (Highgate). Some theatres have a particularly eclectic programme. AD of the Finborough, Neil McPherson related a story about himself: “I was at this party and a rather bitter guy was bitching about every theatre in London … ‘Finborough do war, genocide, disease, politics, feminism, socialism... and camp cheesy musicals …’ I tapped him on the shoulder and said ‘yes we do!’” McPherson added that “a lot of new plays will be raw and messy … usually they’ve got guts.” It’s also about keeping it open and accessible.

Others have relaxed performances. Most recently at Theatre 503 for some performances of their show featuring Autism. Other theatres also feature relaxed cabaret style performances which enables you to go and top up your drinks or have your bathroom break. Canal Café Theatre above Bridge House Pub in Little Venice particularly favours this format and so too do some venues that mainly feature improvisation such as The Cog Artspace above the De Beauvoir Arms pub in Haggerston.

Pub theatres are important for fermenting emerging writer, actors, directors and other theatre professionals. Some theatres pride themselves on being teaching theatres, this includes The Gate which is the only pub theatre which is Arts Council Funded. Many venues are nurturing new talent, with pioneering Trainee Director schemes, new writing festivals, and other programmes. The buildings are continually evolving and making improvements. White Bear Theatre which has been completely redeveloped is reopening this month.

What is on offer in these theatres is a massive range of productions, some of which are destined for greatness, some which fit perfectly in the small venue setting and yet others which should never be seen again

If you’re looking to get started experiencing different pub theatres, a good place to begin is London Pub Theatres magazine (www.londonpubtheatres.com) where you’ll find what’s on pages, top picks, reviews, theatre profiles and a list of London pub theatres with addresses and websites. If you’re on Twitter, daily updates can be found on https://twitter.com/pubtheatres1

#London Pub Theatres circa 2016

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pipbabi · 6 years

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grapsandclaps · 7 years

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GRAPS AND CLAPS REVIEWS THE BEST AND WORST OF 2017.

Hello Everyone! Welcome to this issue of Graps and Claps reviewing what was 2017 - one that has been full of highs, lows and middle of the road going on's in general.

Having only started these memoirs of 2017 in late March it looks like it has proved popular amongst the masses on Twitter, even to the effect that I have met new people at shows due to them reading this blog.

I'm happy to admit that at the start of this year, I never had any intention of pursuing a writing/blogging career, but due to some advice from a couple of people and also due to the fact I had a really bad day at work it took me to the decision - what had I got to lose from writing about something I guess I avidly follow around the country?.

The original #80showyear which at the start of the year looked a reachable target after I had done 76 the year before. But as soon as the realisation that 80 was going to be surpassed, the silly side in me thought 100 was the more likely target and even now it has been surpassed and now ended on a total of 104 for the year.

By the looks of the greater world, another half a dozen people have gone past the 100 and beyond marker including two lads I have met a lot this year at shows - Martin and Davey.

Davey I first met at GPW early this year and was a relative stranger to me at that time, but has become a part of the furniture at nearly all the local shows I am at now. For the life of me I don't know how Davey keeps awake at shows, must be something they put in the Pepsi Max nowadays - but it has been great to meet someone who has been doing a similar thing to myself (Top lad).

When I look back on this year and forward to next year I will say one of my problems was once I knew I could make a certain figure, the numbers took over my head and I would book tickets to shows that were on my doorstep or about an hour away.

Never has their been a year where I have ever gone to shows in Todmorden, Middleton and Halifax, but this year was the year, I mean if there was a show in a back garden somewhere I would have probably turned up clapping away and reviewing the spread of sarnies No.10 had put on.

With doing 104 shows it all comes to a very high cost. From trains, tickets, drink, food and hotels the cost all mounts up and it has been one thing that has hit me hard this year.

As mentioned before in an earlier edition, I talked about the over £300 I spent on a trip to London on the August Bank Holiday to watch what was basically a Progress 'Go Home Raw' show which left me cursing my own head on spending that amount of money on what was a very missable 4 hour show.

Ever since then, there has been many times (Fight Club Pro Project Mayhem Night 2, WXW London & PCW Blackpool) to name specific ones where I have had the 'face of worry' due to my own stupidity of trying to afford going to shows, going to gigs and football plus other things - trying to live the Champagne lifestyle on lemonade pockets.

This is something I have already i've said to myself, it won't happen in 2018. Cutting out the number of London trips and going to Wolverhampton instead, which is a cheaper option all around and some might say the better wrestling product.

Also not going to some shows just for the sake of it, even though it is great going to shows meeting friends, the 4 and 5 show weekenders can become a bit tiring on the body.

There has been many a Monday morning where I have literally felt worn out and wanting to stop under my duvet and sleep but hey these shows don't pay for themselves.

One exception to the rule next year will be a trip to WXW 16 Carat Gold which is an event I have always wanted to go to after hearing so many great things from people who have gone in the past years.

So as with any year end review, I would like to give out some thoughts on the best of 2017 awards for Show of the Year, Match of the Year, Chant of the Year, Pub of the Year, Promotion of the Year, Comedy moment of the year.

LET'S BEGIN!!

UK Show of the Year:

1. Fight Club Pro DTTI Night 1

2. WXW London (January)

3. Chikara King of Trios Night 2

4. PCW Tribute to the Troops Night 2

5. Progress SSS16 Night 3

Fight Club Pro DTTI gets the verdict in a close contest due to the fact of it's ridiculous card of riches headlined by The Elite vs British Strong Style but with also an exceedingly strong undercard only featuring one downpoint which was The Hunter Brothers vs The LDRS. The venue might as well have won an award for itself for the 'Hotter than the sun' Award, the whiff of wrestling fans was certainly bottled up on that night.

Match of the Year:

1. Matt Riddle vs WALTER (Progress Birmingham in July).

2. Travis Banks vs Soner Durson II (Futureshock Wrestling).

3. David Starr vs WALTER (WXW London October).

4. Daisuke Sekimoto vs Keith Lee (XWA Bethnal Green)

5. Zack Sabre Jr. vs Angelico (FCP DTTI Night 2).

The Atlas title clash between Matt Riddle vs WALTER wins a hotly contested award thanks to its believability of two men hitting each other really hard, the chops to Riddles chest were some of the most vicious chops I have seen all year. When a match leaves you with goosebumps they have certainly got you by the short and curlys and this delivered that.

A close contender to the No.1 spot was Travis Banks vs Soner Durson II from Futureshock Wrestling which left a 200 strong Stockport crowd in awe and amazement after a breathtaking 20 minute contest. The literal buzz after this contest was something that had to be seen to be believed, a star making match for Durson and a belt making match for the Adrenaline Title.

Chant of the Year

1. WOOOAAAHHH HERE HE COMES, WATCH OUT BOYS HE'LL CHEW YOU UP, WOOAAAHHHH HERE HE COMES, HE'S A FLAMITA.

2. EVERY WOMAN EVERY MAN JOIN THE DONOVAN OF LOVE, STAND UP STAND UP!

3. PURPLE FACE PURPLE FACE, ONLY WANT TO SEE YOU WRESTLING WITH YOUR PURPLE FACE

4. CHICKEN IN A BIN IN A BIN CHICKEN IN A BIN!!

5. BALDY BALDY OVER THERE, WHATS IT LIKE TO HAVE NO HAIR, IS IT HOT, IS IT COLD, I DON'T KNOW COS I'M NOT BALD.

A runaway winner with the chant thought up on a Premier Inn Shitter by our Geoff. Inspired, had Flamita flummoxed and a crowd of 700 people in stitches.

2nd place goes to the ill-fated 'Donovan of Love' as much as the Progress Gestapo said it didn't work, it very much did with the crowd being offered a HouseMartins music lesson whilst watching a storming match between Donovan Dijak vs Pete Dunne.

3rd place went to the Purple Ronnie of BritWres - Robbie X, this wound him up rotten this chant haha!

4th & 5th place were inspired by the underated works of Damon Leigh in Futureshock Wrestling, who has got his Chicken antics that over, that a fight over a bin has become one of the most anticipated of the year.

Pub of the Year:

1. The Crown and Kettle (Manchester)

2. The Guild Ale House (Preston)

3. The Fenton (Leeds)

4. The Devonshire Cat (Sheffield)

5..The Giffard (Wolverhampton)

The Crown and Kettle gets the win here due to its status as the home to the Pre Show Tuesday Night Graps Lucha Lash. Great ale, good pies and great location to a venue.

The Guild Ale House was a close second due to its nice beer at a price under £3 and has took pride of place as the best pub in Preston.

The Giffard sneaks in at No.5 due to being a good aftershow venue for Fight Club Pro and the class tunes it has to offer. If based on toilets it would get nowhere near.

The Fenton makes an appearance thanks to the top afternoon a huge group of us had whilst on a trip to see TIDAL in Leeds. Seeing at least 20 of us enthralled by a game of Pool whilst all generally getting on with each other is still one of my favourite days of the year.

Promotion of the Year:

1. Fight Club Pro

2. Futureshock Wrestling

3. PCW

4. Lucha Forever

5. PROGRESS

Fight Club Pro gets the win here for me due to the fact it has got the right blend of great wrestling, fun atmosphere and reasonable ticket pricing - almost like what Progress had a couple of years ago.

Futureshock deserves its second place standing here - consistently good shows, fun audience and a focus on making the secondary title as important as the Heavyweight title has been a great feature of a promotion who has it right on point.

PCW is another that has had a great year thanks to consistent storylines which were a problem last year. Tribute to the Troops Night 2 is well deserving of a spot in Show of the Year categories. Also take into account the number of promising wrestlers soon to be making waves from the Academy - Philip Michael, Sheikh El-Sham, Rhio, Dave Birch and BIG T.

The shows that took place at both Blackpool Tower Circus and Ballroom have provided two of the most spectacular venues you could see wrestling in. 2018 could be a very big year for PCW and it is one i'm looking forward to.

Comedy Moment of the Year:

1. Eddie Dennis sending Chris Linay to the 02 Academy Sheffield Deck

2. Joey Janela vs The Invisible Man

3. Inflatable Kid Lykos, Sexy Travis & Chris Brookes vs Aussie Open & Millie Mckenzie

4. Our Geoff vs Athers for the BritWres Pool Title in the Fenton to the sounds of 'Candle in the Wind' by Elton John.

5. BANGARANG at the first Lucha Forever in Manchester.

THE 'GET IN THE BIN' AWARD

1. Social Media i.e. Twitter (great at times, but christ there is lots of tedium)

2. 02 venue prices

£4.40 for a coke at the venue in Liverpool had me reduced to tears.

3. Casio keyboard theme tunes

I have wrote about this at length this year, the entrance means everything to getting an act over, you only had to see the reaction to the return of Rampage Brown at Sheffield for the use of the real music at a show - that crowd came unglued.

4. 'BOTH THESE GUYS'

Get off the fence you arse-splintering fence sitters.

5. PROGRESS Fans Forum

'I spotted someone wearing a 'Choose Progress' shirt in Costa Coffee and I thought I would post it - Deary Deary me.

Worst Toilet of the Year:

1. The Giffard

Remember that scene out of Trainspotting, welcome to the Giffard bogs - wet bog roll, smell of stale piss- Hell on Earth.

2. The Corporation

See The Giffard but less 'Hell on Earth'

Best Toilet of the Year:

1. The Resistance Gallery

Comic Magazines plastered on the wall made for an interesting and thoughtful time on the toilet.

2. The Devonshire Cat

Nice designed piss stones which are actually beer barrells. Great idea and I commend them for it.

So there you go that's the review of 2017 and I hope you have enjoyed reading it, many have actually said it is the best wrestling related blog they have read this year 😊.

It has been a year where the group of people I now know at shows has grown to huge numbers, some who have made the trip to shows no matter how shit the shows or how down I have been, they have made it more bearable and to them I want to say Thank You.

Also thank you to Ben Corrigan and Matthew Pryor for their guest reviews this year for which they did great work.

So what of 2018, well GRAPS and CLAPS will return and even the odd review for other sites will be taking place (Indy Corner and WrestleRopes). #grapsandclaps

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