Aving Dramaturgy Large: Mad Cyril and DJ Spinoza @ Edfringe 2016

Plato's Ghost presents

Mad Cyril and DJ Spinoza

aving it large

The Royal Mile, Edinburgh

4-27 August, 3pm

"I like a bohemian atmosphere"

Following on from DJ Spinoza's award-winning Uncle Vanya In Dub and his legendary sound-clash with Glasgow's finest, Hush (Music Please), Plato's Ghost are proud to present aving it large, a collision of gangster aesthetics and transgressive politics.

In the heart of every person is a battle between the higher and lower instincts. In the space between Spinoza's techno re-imagination of philosophy, and Mad Cyril's feral displeasure, the tensions between cerebral morality and sexual deviance come out to play...

What was the inspiration for this performance?

SPINOZA: I have always been inspired by the potential of art to expose the metaphysics of social performance: the way that clothes, demeanour, speech and even desire is an expression of both construction and instinct. After making Uncle Vanya, I wanted to examine what it meant to use Goffman's ideas about the dramaturgy of everyday life in a performance context.

CYRIL: I wanted to meet some tasty birds in tight skirts. 

Is theatre still a good space for the public discussion of ideas? 

SPINOZA: Undoubtedly. I know that Cyril enjoyed CHRISTEENE's gig at the CCA, but he was perturbed by the speech that claimed masculinity is dead.

CYRIL: Too right. Nothing wrong with wearing a nice bit of schmutter. Like the ballroom scene in America, where they have all those geezers in suits, playing with 'realness'. I thought, I'll give them some fucking realness.

SPINOZA: What we are interested in is questioning the boundaries. Once you have no religion in the public sphere, is there any wrong or right? We'll be exploring ideas about feminism - and Men's Rights Activism - and whether a new morality is replacing the old. 

CYRIL: And I'll be chucking some dustbins through windows. Pinky promise.

How did you become interested in making performance?

SPINOZA: Everything is performance. If we take the definition of dramaturgy that you suggest - making an event in time and space - then walking down the street is theatre. I suppose I have always been making performance - music, even - since I first learnt how to cry.

Was your process typical of the way that you make a performance?

CYRIL: I want to be clear. I am not his MC. And it's not like Alan Partridge and Glen fucking Ponda, either. We have this chat show vibe - I'll be talking to the artists who, when Edinburgh City Council was full of cunts, would upset the press and get all famous for it. But there is no process.

SPINOZA: I'll be dropping some dubstep, maybe a bit of funk. My aim is to expose the appropriation that is inevitable in DJ culture, maybe asking a few questions about whether it's any different from the exploitation of colonialism.

CYRIL: You fucking what?

What do you hope that the audience will experience?

CYRIL: I hope some of them will be experiencing mad love, if you know what I mean.

SPINOZA: A spiritual journey that allows them to reconsider their assumptions about identity.

What strategies did you consider towards shaping this audience experience?

SPINOZA: I am influenced by Kode-9's thoughts on using music as a weapon. That is, not as noise - although I have tried to find 'the brown note' and 'the big whistle' sound. More promoting love through the atmosphere. So it is in the musical choices for me. The way an audience feels music. 

CYRIL: I just... what the fuck question is that? Strategies are for taking down rivals. So, I'm going to get people on the show who have good pieces, and do their heads in. That way, less competition.

A Brief Guide to Critical Personae on the blog

Seriously, if you looked like that, you'd want to wear a mask, too.

This blog uses a variety of identities to explore the possibility that criticism can be a form of fiction. The masks that are worn - the performed persona, if you will - enable a mimetic process of critique, rather than a diagetic. 


Mad Cyril
The most gangster of all the personae, Mad Cyril was discovered in a brief cut-scene of the film Performance. He gets to say the stuff that The Vile Arts find simultaneously unacceptable, true (as far as truth has any value, natch) and funny. Hence the casual sexism and so on. Cyril, when reviewing, uses a rating of 'dustbins', based on his habit of throwing them through the windows of bookies who owe his bosses money.

Criticulous
The first mask ever worn, Criticulous exists both on the page and the stage: he performed at Buzzcut, The Traverse and The Arches. Conceived as a demonic guardian, like the pictures on the walls of Tibetan tombs, he reverts to a compassionate stance when faced with human beings. He is the clown of the gang, heavily influenced by the 'drunken style' of Ol' Dirty Bastard (hence his other name, Wee Dirty Bastard - given to him by dramaturge Elliot Roberts).

Ghost Faced Critic
Another Wu-Tang steak, GFC is a new addition to the team. Still in

development, he believes but knows nothing, and is likely to become the religious member of the group. 

Gareth K Vile
Remember: personality is performance. I can never be trusted. 


Real People
When he remembers, GKV is a member of the Tempo House collective. References to Lorna Irvine and Elliot Roberts actually describe two of the people he actually listens to. Lorna is a critic of international standing, Elliot is a dramaturge. 

Mad Cyril gets the Glasgow Miracle

The Queen's Speech

In keeping with the spirit of Christmas, I won't be sending any cards this year: I've just bunged a couple of quid to some charity so I don't have to bother writing and sending a bunch of generic greetings. And I can tell you that I gave to charity instead, and you can bask in my generosity, knowing that the gap on your mantelpiece is actually paying for some dog-food or something!

However, I realise that this might disappoint some people, so I'm reviving another Yuletide tradition: the annual report from the family, photocopied and slipped inside a Christmas card, full of details about how amazing my family is, and all the cool things we did in the past year. 

Only I don't have a family, so it'll be the fragmented selves that torture my daily life with their nihilism, suppressed violence, frustrated desire and existential despair!

Happy Winterval!

I thought it might be nice to offer a selection of cards, so you can cut out and keep them. If you want. Not really too bothered at this point.

Anyway, it's been an amazing year for the Vile Arts! Our chief critic and primary consciousness (not forgetting his physical manifestation) was homeless for two months at the end of the summer! 

Not only did this give Gareth the chance to tell everybody about his situation, it led to some hilarious misunderstandings with members of the Revolutionary Communist Party, who insisted that he wasn't really homeless - in much the same way as they aren't really serious about smashing the state! Quipped GKV: 'it just goes to show that I'll never really be destitute, just as long as I don't conform to some hideous stereotype of poverty!'

This did have a happy ending though: Gareth has been admitted to study at Glasgow University. Although his thesis concerns comic books and theatre, he's out-sourced some of the workload to other members of the Vile Collective. Consequently, Mad Cyril has submitted a first draft of All Dramaturgs are Bourgeois: Conversations between Diderot and a Lap Dancer. 

Speaking of Mad Cyril, we're delighted that his series in Japan - Gor Blimey - has been recommissioned for a second series! After he got banged up for a few months - don't worry, Yewtree wasn't involved! - Cyril became a celebrity in the Far East, with images of him throwing a bin through a sushi shop window making the national news! 

Anyway, Cyril got his own show out of it: based on that Channel 4 racist classic, Banzai, it encourages viewers to gamble body parts on the outcomes of a series of competitions. The highlights of the last season included a whelk eating contest, a 'who loves their mum the most' shoot out (with Babs Windsor and Katie Price as the mums, no less!) and a Feed the Japanese Mick Jagger Lookalike with Mushrooms phone-in! 

We even got Shaun Ryder to do some indents, saying bits out of Performance. Rumour has it that Guy Ritchie wants the film rights.

Stay tuned for more news (or check out YouTube to see Mad Cyril's trailer for season two, which features lots of flashing colours, psychedelic flying dustbins and Cyril's catchphrase Do You Want To Get Sucked In).

Criticulous, meanwhile, has been keeping a low profile. With The Vile Arts going academic, he's been locked in the CCA cleaning cupboard until he can explain what research as practice means.

He did manage to escape for a couple of appearances though: who can forget his routine on The Limmy Show? Apparently, even though he just stared at the camera and explained how he was rejecting existentialism on the grounds that having a body was a form of essence and therefore its humanistic manifestos were inherently contradictory, no-one seemed to notice it was him and not one of Limmy's sketches!

Apparently one BBC producer said that he might as well take over the writing for the entire series, since Limmy was still trading on the goodwill from his old on-line videos, and they were squeezing his comedy into a medium that undermines its humour already! 

Criticulous is already promising an epilogue to his Trilogy, although his original concept - an intimate performance that is a mimetic version of a date - has been rejected by Creative Scotland and around seventy-six women he asked in the CCA in one evening!

He's got a good pair of talents tucked in there...

very_fit_attractive_man_wearing_underwear_
and_a_lifting_his_tank_top_revealing_
his_abdominal_muscles

Right, troops, Mad Cyril here. I stumbled across a debate about whether theatre critics 'ought' to comment on the physical attractiveness of performers. To my credit, I read at least three comments on it before I threw a dustbin through the window of a bookies.

It's such a feeble discussion. Criticism is dying, seriously choking on a mix of second-hand Tynan pomposity and the dwindling respect it is given by newspapers, and the ponderings are at the level of a sixth form school debate championship. When Mark Fisher says 'the answer is yes and no,' he says everything that needs to be said. Sometimes it is okay, like when I intimated that I wanted to have sex with an act doing a nun striptease at Gypsy Charm's Illicit Thrill, and sometimes not, like the critic who commented on the sexual attractiveness of a woman in Nic Green's Trilogy (which was concerned with examining the theatrical meaning of female nudity, amongst other things).

I hate the idea that criticism is instinctual, but a critic who has any working philosophy of their work will know when it is acceptable. Personally, I try to remember that, after all, there are usually real human beings on stage, and I would no more personally insult or inappropriately compliment them than I would if I met them in the street. 

That's why my reviews tend to talk about their performance or their writing rather than them as people. 

That said, this would be more interestingly debated in the on-going activity of critical writing. Critics do need to be called more often when they step over boundaries - not in back-stage cabals of frustrated artists, but publicly by the artists in question. I have standards that I invariably fail to hold... it would be nice if someone engaged with me when I overdo it. 

Obviously in a polite tone, unlike the raging half-wittery on display in this post. 

Round Table on Live Art Part 3

Bearing in mind we saw about six pieces in total, can we call this a vintage year for Into the New?

Naw.
No.
No.

So what is the problem? The quality ranged from good to poor, with many fragments of promise in the middling work. That seems consistent with the usual experience...

We end up saying the same fins evry year. And that means sayin wun year's a vintage is pointless. 

Can you go on, Cyril?

I get all the shitty jobs. Awright then.

Inta The New is necessary, and gives space to emerging artists. And seeing how they cope with the rigours of performance is fascinating, if not really for a general audience. And Bodyhoods was a great mash-up of queer ballroom aesthetics and meditations on the appearance of disability. If ya like, it was this year's 'winner'.

I hear a big but...

And I cannot lie: any critique of the festival is a critique of the CPP training. And what I see, what I feel, is that the course is asking a limited range of questions. We get 'what is performance?' - the extended theatre business. We get 'how can autobiography be performed?' which has a dash of 'where does theatre end and 'real life' begin?' 

There's also the emphasis on solo performance. So much of it... the odd duo, but it is mostly one person shows. I guess that makes marking easier, but it also becomes... it feels like all the songs sound the same, eh?

They all need a dramaturg, huh? There's a surprise. 

Roundtable on Live Art (part 2)

Awright troops. We got The Mondays on Spotify and we are ready for rahnd two. Let's talk art!

I'd like to get a little deeper into the overall feel of Into the New. This annual event is pitched... well, who do you think the intended audience is?

Lovers of experimental art, innit?

I disagree; this is a degree show, of sorts. The actual audience will consist of fellow students, friends and families. The audience are only there to provide a sounding board for the artists.

This is a work in progress type affair?

After a fashion: but even more than a WIP, Into the New is for the benefit of the performers more than the audience. That might explain why one of the pieces we saw was a big in-joke about the CPP and the RCS.

That was farkin shite.

Either that, or we ought to congratulate the artist on knowing his audience so well. He was playing to the crowd, who got the joke. 


That mentality is wat causes problems for Live Art all ova. It's self-congratulatory, self-indulgent.

Perhaps we could more generously assume that the artist in question is displaying a sensitivity to the audience...

You sed. But if is jokes had bin funny..

Moving past this... we have mentioned the nudity, but did anything else crop up for you, in terms of themes.

I didn't get past the jubblies.

But feminism came up a few times...

Mainly in the durational piece... it felt a little obvious to me.

Let's remember that this is a student work; obvious is going to happen. If I remember, the piece had two elements. The preparation and the catwalk. The preparation was all about the 'creation' of femininity, the catwalk about its performance.

I think it did its job, but there's little to add. I have that same problem I always have with CPP 'feminist' performance.

That it reads like a response to Judith Butler?

More than it seems pretty old fashioned to juxtapose make-up and the body as twin signifiers of the female and its exploitation. It's all a fiction, I know, I know. I am pleased to see the ideas being rediscovered, but I would like something that speaks to 2015, not 1978. 

Yer jus gettin old.

Mad Cyril almost apologises

Vile Arts Roundtable on Live Art... (part 1)

Good evening and welcome to The Vile Arts Roundtable. We've been avoiding this particular discussion for the past day, for reasons that might become clearer as we go on, but I am going to hand you straight over to Mr Criticulous, our host.

Thank you, Gareth. You'll be able to recognise the different speakers by their fonts - I've got a rather dashing Georgia tonight. Our guests will be representing different perspective on our subject, which is Into the New. As a seasoned entertainer, I'll be bringing a few dramaturgical perspectives...

While I'll be commenting on the quality of the ladiez. The kind of Live Art that comes out of the RCS' CPP degree is usually full o burds wiv their kit off.

That, of course, is Mad Cyril, and he has an interest in sexual

representation...

And violence, natch.

And I shall be sitting in the corner mumbling polysyllabic jargon.

Thank you. First of all, a little background. Into the New is the annual showcase for the final year students of the Royal Conservatoire's Contemporary Performance Practice course. Traditionally, it is rooted in live art - in the sense of expanded theatre - and has given us artists like Elaine Black and Nick Anderson. 

And burds wiv their kit off.

I think perhaps we could address that, then, Cyril. You see nudity as being intrinsic to the live art experience?

On the one hand, I reckon it's completely inappropriate to bang on abaht the nudity. We ought to be above checking awt the jubblies, and examine wat the nudity represents. We got to see two naked wemmen this year, and one nuddy bloke. 

In this particular conversation, I think we ought to agree

http://www.sciencedump.com/content/projecting-video-falling-snow

some rules... we won't be mentioning the names of the performers who were naked.

Absolutely: I am more interested in the overall use of the naked body within the context of Into the New, because there is undeniably a consistency between its use in 2015's edition and in previous years.

It's a lazy farkin shortand for emotionally vulnerability, innit?

I think it is also used as a symbol of gender identity, too... it opens up a discourse about essentialism.

So that sort oo was naked and goin about the stage was confrontin the audience with her essential femaleness?

Yes: she was asking questions about what constitutes 'the female'.

And the bloke?

He was doing vulnerability.

Mad Cyril gets called in the office.

"Ah, Mr Cyril. Thank you so much for coming in. We appreciate you are a busy man, but we felt that it might be worth your time if we could clarify some of your turns of phrase in your latest review."

"So whatcha lookin fer, sunshine?"

"Well, of course, we aren't trying to censor your work, but some of your expressions might not be appropriate in this particular context."

"Ya talkin baht my wun on Dracla?"

"Exactly, yes. If we could just have a look at this description of the final pas de deux."

Dracla mincin abaht like a nonce...

"Obviously, you are describing the quality of his movement when he dances in joy at what he believes to be the return of Mina, the woman he loves."

"Ee's pleased awright, but there's no need fer all that scamperin ee does."

"You feel that, choreographically, the interpretation of Dracula fails to express masculinity?"

"Too right, guvner. We've seen im havin it with four bad boys in the previous scene, and creepin abaht all shoulders unched up as ee gives that slutty number the bite: wun time he climbs right awt the winda and hugs the erth, kinda like ee's connected to it and that, nice spot of contemporary action, all twisted and evil, like. 

But as soon as he starts up on the bally, it's like ee's a bit light in the loafers."

"You see, it is this language that could be read as homophobic."

"Yeh, right. Urling abuse at a man for is sexuality is wun fing, but Ah'm talkin baht a fictional character oos physical vocabulary is inconsistent.Ya sayin that ain't kosha, son?"

"I think the language is offensive, yes."

"But it gets tha point across, right?"

"So, Mr Cyril, what you are saying is: if a fictional critical persona expresses an opinion about a fictional character in a performance, it is acceptable to use language that, if said by a real person to another real personal would be beyond social acceptability."

"Homofobic abuse is well out of order, if it's real people. Ah'm not sayin the geeza who danced Dracla was good wiv is interior design. Ee probably gets loads of blart, with that body. Ee'd probably turn me afta a coupla pints."

"I don't think you are taking the impact of words seriously enough, Mr Cyril."

"Oy, oy, really? Wanna get sucked inta Cyril's past, do ya? There are fings wot you don't wanna know."

"Your fictional biography gives us a clue to why you find using abusive language appropriate for criticism?"

"When I woz a boy, Ah wanted ta be a dancah, like that Neuryeff. Fought ee would ave to bash em off wiv a shitty stick. Only my movver made me wear tights to class, and the ova lads caught sight of me old down-belows. Ah ad a lot ta prove. Thas why Ah have a rep for frowing dustbins frew glass windas, sunbeam."

"Are you arguing that your experience permits offensive language."

"Nah, I arguing that Mark Bruce's choreography is inconsistent and fails to realise dance's potential for expressing the character of a vampire, innit."

"But the association of ballet with male homosexuality..."

"Is somefin Ahve lived frew, mate. Iss a mif, anyway. Barry Shikov was a it wiv tha ladies - ee got ta pump that bird off Sex in the City."

"Sex and the City, and that was fictional too."

"Ya wanna read abaht my boy Barry before ya challenge me, chuckles. Maffew Bourne's swans off Swan Lake  were pretty bad-ass, and they were all about the man-love. So omosexuality isn't the same as effeminancy, an there's plenty ov examples of horn-dog lads in the ballet."

"But is Mark Bruce a ballet choreographer?"

"Annuver question fer annuver time. But if Ah'm pondering the quality of the extensions and rememberin the sexy stylings of MacMillan every time they do a pas de deux, it's ballet awright."

"Despite this, you are happy with the three star rating you've awarded the show?"

"Yeh. I dunno why you ad to give it all this about one frase, though. Seems a lot ov work for not much."

"We have examined the use of language in artistic contexts, explored the relationship of choreography to movement and considered the importance of identifying the difference between performance and artist - all in a dialectical format."

The Citizens gets a spring in its step...

The Critics greet the news of the new season

Oi oi, Mad Cyril ere. Ready for the latest news from the Citz? Thought so.

Appy Birfday to the ol' fella in the Gorbals - 70 years young taday. An they've sent us all a press release. Let's ave a peek at wat they are up ta. 

· A new production of classic twentieth-century Scottish favourite

ga-ken wan

The Slab Boys, written and designed by John Byrne and directed by and featuring David Hayman in the cast.

Ayman's alright by Cyril. Did a tasty piece - two ov em - in the Fringe and as a passion fer the polemical art. Ee did Lear with Dom Ill a bit back, and ee's got those sweet actin chops. Byrne's shown is moves wiv a couple of translations of Chekhov in the past year. Nice. 

· A major new play by Douglas Maxwell, Fever Dream: Southside, a hallucinatory comic thriller set in Glasgow’s Southside.

Sarfside Massive shout out. Maxwell's got a free pass if ee's talkin baht my manor.

· Into That Darkness, an adaptation by former Citizens Theatre Artistic Director Robert David MacDonald of Gitta Sereny’s interviews with SS-Obersturmführer Franz Stangl.

Nice... here's one for Anselm Henrich off Glasgow Uni. Ardcore.

· Return visit by theatre company Headlong with The Absence of War, David Hare’s state of the nation play focusing on the Labour party.

Sweet, bit of a modern classic.

· A radical re-imagining of Macbeth by Filter.

It betta be very radical. Frickin Shakespeare. Still, Filter'll rip it like ya jaw on a sovreign. 

· Edinburgh Fringe Festival 2014 hit Lippy by young Irish theatre company Dead Centre.

· The Garden, an opera by Zinnie and John Harris and David Leddy’s Long Live the Little Knife in the theatre’s Circle Studio.

John Harris is sound. Zinnie is cool. Baht time they teamed up. 

· Top names on the UK comedy circuit including John Shuttleworth, Henning Wehn, Simon Amstell, Jon Ronson, Susan Calman and Des Clarke as part of the Glasgow International Comedy Festival.

A bunch of jokers, eh?



Announcing the new season Artistic Director Dominic Hill said

"This season honours the Citizens’ long-standing tradition of bold and daring work that speaks to Glasgow audiences. As well as welcoming back old friends and showcasing some exciting new talent, I'm particularly looking forward to directing Douglas Maxwell’s new work, set in the Southside of Glasgow and exploring universal themes of parenthood, community and belonging."


Aving all of it, big style...

Amlet Avin It (with Mad Cyril)

credit: Tommy Ga-Ken Wan

Ear's the fin baht Amlet: ee wants a good slap. Carryin on like a geeza, only ee ain't got the stones. Spends arf is time bawlin baht is old man, bottles it when is uncle is dahn on is knees, finally poncin abaht wiv a rapier when it's time fer a shoota. All that actin mishuga, then ee carn't even take dahn a daddy's boy.

Dominic Ill's gotta line on the boy: as im givin it the large one when it's the sorts, but not so much wiv the gaffa. Brian Ferguson's a great comic actor, ain't to see is prince is a joke, but he is joker. Somefin's rotten in Denmark, an this nancy ain't helpin'.

Reckon it's a Glasgow fin, but this Elsinore's a ruff old joint. From the way er old man grapples er, I bet Ophelia's first name's Pete. Nasty business goin on there, this old Leslie Philips double avin a feel of er tits and ass. Then Amlet decides ee wants some - bad enuff he turns up avin a wank in er closet ('his doublet all unbraced,No hat upon his head, his stockings fouled': right.) but then ee jumps er and afta that, I ain't givin this character no face-time.

Credit: Tim_Morozzo

It's pretty clear that Claudius is the ero in this one. Ee's a stand-up guy - did a bit of mischief on his bruver, pumped his wife, but that's ow it goes sometimes. Peter Guinness looks well tasty in his whistle, and that shaved ead earns its respect.


Oi, oi saveloy! Am I Avin It?


I Am Avin It Cuntry Style.


https://www.flickr.com//photos/citizenstheatre/sets/72157647491358857/show/

Mad Cyril's Guide for Critics

Awright, mate. Mad Cyril back on the blog again. Ah've be arsked ta say a few words abaht reviewin, cos there's a bunch of jokers out there oo are frowing arahnd star ratins like they was free wiv every pint ov milk. There's only wun right way to review, an Ah'm gonna tell ya what it is.

1. Make sure you chat about sum book ya reckon the playwright should've read. Don matta if ya read it yerself. The fing is to filter a play frew yer own thinkin, not wun what the writa or directa wants. This makes ya look well smart, and obviously betta than ova critics.

2. Remember that it don't matta how the fing is dun. If it's a good script, that's wot counts. Never mind the concept is shit, just find the bit that plugs inta ya own interests an rate it on that.

3. Add adjectives to  'unique'. Some snobs'll tell ya that, cos it means 'one of the kind', somefing carnt be 'very unique.' Language ain't the boss of ya,  so use it like a sort ya've already paid.

4. Mentionin the audience's antics might be awright, but tell ya reader wot the audience fought. Cos as a critic, ya got special mind-readin powers which means ya know ow an audience figures.

5. Make sure you sound like the queen havin tea with Prince Fillip. Say 'one' when ya can, cos that's like sayin I and everyone in the whole world', except it is posh. Ere's an example.

'One might think that Mad Cyril is an ironic satire on criticism,  but it is actually a performance of self-mockery by a lonely individual.'

6. Sweeping statements. Tell em ow it is. No wobblin.

AVIN IT WITH MAD CYRIL.

Fing abaht satire is, it ain't enuff to getta few laffs. An it aint enuff to, like, tell a good story. Ya see, satire is all abaht buildin somefing up, takin it beyon the real and maybe gettin a laff. But it's gotta be big, like Tori Amos said.

It's Mad Cyril here, known as the C-Word, and betta known for slappin em abaht a bit if they get cheeky. I'm bringin it ta The Vile Arts. Only reason Ah'm doin this is cos The Vile Arts is a proper name. None of that poncy criticism here. I'm mad Cyril, an I am as mad as a farkin lorry, mate.

Ah'll be doin the odd post on here, an Ah'm callin it:

HAVIN IT WITH MAD CYRIL.

Ah answer the question: am I havin it? Am I havin it large?

That comment on satire: that's directed at The Collector. I fink satire has to be takin the piss - not like whoever left their bangers an mash in the disabled toilet at Summerhall - but mockin those Brians who run fings. I get it can be subtle, like: but I want at least an ironic grin.

Still, it's a tasty script Naylor banged out, an I reckon it has some nice details about the Gulf War and all. If you wanna know what goes down in those US prison camps... it's pretty harsh but not as harsh as what'll you be having if you mess with me, son.

I am not havin it.

Please note: Mad Cyril is not real. Chat: GK Vile; Gettin Sucked in: Elliot Roberts