Mute Money Line

For dignities sake I presume a standard of intelligence of my audience.

Money lines are a whole sub-criteria of street performance. I choose to ignore them.

Those who don't recognise I might be entitled to their gratitude are not my audience.

Almost by definition. I get there's a no true scotsman nestled in there somewhere and I also get ingratitude because it happens to be one of the foundations of my personality.

However

The way it works best is that after a period of working some audience member will bravely but somewhat hesitantly approach me. Often with money in their hand. They sometimes wave it as if preliminarily searching for somewhere to drop it, sometimes exaggerating casting their eyes about as another signal and part of our non verbal conversation.

I watch them approach, I try to convey sly waryness, subtly I shift my weight in a pattern from leg to leg that increases as they approach.

All's still and there's this interlude where my distrust melts, the malcontent may still be capable of love.

Then follows three minutes of accepting the money, getting the audience to robotically clap at this brave soul and subtextually the concept of giving me money.

Then pondering the concept of gifted worth I am struck by an enormous revelation. My eyes move from my money slowly out and I pan across and begin almost quivering with anticipation. I raise my index finger and begin quickly tallying their number and when finished glance again at my money in hand.

I raise both hands , palms forward in a classic "wait!" signal. and then run away from my audience as fast as I can.

I run, technically on stilts its perambulates-just a bit of clownsplaining.

I get to where I can change direction and run out of sight of my audience.

The time I'm out of sight is mine to control. You would let them percolate in discohesive doubt. Why were they standing in a group in public with zero focus?

Around the corner I would have stashed one, sometimes two, plastic childrens paddling pools.

I would come crashing back round the corner carrying these and slam them down in front of my crowd. Two was the best number of pools because it let you play with competitively dividing your audience.

I would then wordlessly convey my expectations that each childrens pool would be filled each with about a foot [12 inches] of currency such that I might swim in it luxuriously and also drink heavily and dance.

So from the first person to offer me money to this my extrapolation from it was my most enjoyable 'money line'

Saudi Comedy Fest, first impressions

Bill Burrs opening should start with his gratitude for the gig, a little background about him already a helicopter pilot but with this payday further gratitude he should start looking at recommendations for flightschools.

Jimmy Carr should simple start by admitting this gigs the most money he's ever been paid not to call anyone a cunt.

Jim Jefferies should show some balls and wear a three dongle belled jesters hat and do a little dance for the King.

Whitney Cummings should reveal her penis explaining that without it she wouldn't be able to speak. [or drive]

Kev Hart can come out all loud and angry shouting discrimination because everyone's been paid their weight in gold and he's only worth a valets tip.

Louie CK can confess he's never masturbated in front of other people so profitably before.

Others?

Burr is the answer to the question.

What sounds do bone-saws and money counting machines make?

not bad start, the font however suggests I have a comic sans personality, not good.

Working Title...Begging basement

I'm constructing, well the working title is 'begging basement'.

I have long concluded that street theatre outside of festivals is either non viable or very close to.

Having straddled the internets existence it seemed to me self evident that the internet, in terms of global eyeball/audience was the worlds most prominent boulevard.

Initially that boulevard was raucous and filled with small cheaply designed distractions, commerce was clunky and there was a surprisingly weighted congruence of experimental art and expression, creative guilds, individuals mixed with the usual scurrilous rapscallions and their older brothers the corporations.

Now it's mainly large multilayered deceitful vehicles owned by absolute fucking demons who if the world were just would be drowned in the spittle of whoever was nearby anytime they ventured anywhere publically.

As such everyone's traumatised, disempowered, overstimulated and constantly vexed and whole generations have had their brains rewired by third parties.

So yeah, dredging humanity from gaggles of passing pedestrians for collective yucks isn't what it used to be. Non viable.

I have plans to use the street theatre modality to incorporate all that is now shitty, [like constant demand for selfies] and using the failure of western society and its social mores I intend to produce online the income that the street cannot.

By being as malcontent as my heart desires.

The three main frames at my head height are going to either be links or hover-overs wherein the corresponding text will superimpose on the right where the smaller frames are.

I need to have a design conversation about whether hover-overs are not phone friendly and whether I should care.

So three elements provided by this page will be.

A brief description of 'the honour system' and how it historically was used to denote prices and appreciation.

A link to a 5 tiered Patreon

A curated small list of other peoples endeavours I want to promote. It's coming along...🙂

defining yourself is a luxury.

Disquietude.

Sup