Mr Robot: What? You are? ……………..Is any of it real? ……………..I mean: look at this.
Look at it:
A world built on fantasy. Synthetic emotions in the form of pills. Psychological warfare in the form of advertising. Mind altering chemicals in the form of food. Brain washing seminars in the form of media. Controlled, isolated bubbles in the form of social networks.
Real? You want to talk about reality?
We haven’t lived in anything remotely close to it since the turn of the century.
We turned it off. Took out the batteries, snacked on a bag of GMOs while we tossed the remnants in the ever expanding dumpster of the human condition. We live in branded houses, trademarked by corporations, built on bipolar numbers jumping up and down on digital displays, hypnotizing us into the biggest slumber mankind has ever seen.
You have to dig pretty deep, kiddo, before you can find anything real.
We live in a kingdom of bullshit. A kingdom you’ve lived in for far too long.
So don’t tell me about not being real. I’m no less real than the fucking beef patty in your Big Mac.
As far as you’re concerned Elliot, we are all together now, whether you like it or not.
I know a guy who’s tough but sweet
He’s so fine, he can’t be beat
He’s got everything that I desire
Sets the summer sun on fire
I want candy, I want candy
Go to see him when the sun goes down
Ain’t no finer boy in town
You’re my guy, just what the doctor ordered
So sweet, you make my mouth water
I want candy, I want candy
Candy on the beach, there’s nothing better
But I like candy when it’s wrapped in a sweater
Some day soon I’ll make you mine,
Then I’ll have candy all the time
I want candy, I want candy
I want candy, I want candy
Songwriters
GOTTEHRER, RICHARD / BERNS, BERT / FELDMAN, BOB / GOLDSTEIN, JERRY
Check-it-out chocolate. Can I have a bit of chocolate?
But my weight worries me a bit these days.
However, chocolate. Can I have a bit of chocolate?
But wait a while! Wait a while! Wait! Wait! Wait!
Check-it-out chocolate. I can have a bit of chocolate, can’t I?
But my weight worries me a bit these days.
However, chocolate. I can have a bit of chocolate, can’t I?
But wait a while! Wait a while! Wait! Wait! Wait!
Parappappappaa rappappappaa rappappappaa paapapapapaa.
Too, too late. Too, too late. Too, too. P! P! P! Come on!
I did it so hard. I did my best.
So, a bit (heart). I ask you just a little bit.
Quickly chocolate. Please give me chocolate quickly!
Pass me chocolate! Chocolate please!
Check-it-out chocolate. I can have a bit of chocolate, can’t I?
I think so, don’t you? It’s so good. I’ll be so happy and can work hard.
So, chocolate. I can have a bit of chocolate, can’t I?
I think so, don’t you? Just a little bit. I’ll eat just a little bit of chocolate.
Parappappappaa rappappappaa rappappappaa paapapapapaa.
Too, too late. Too, too late. Too, too. P! P! P! Come on!
Parappappappaa rappappappaa rappappappaa paapapapapaa.
Pappappaa pappappaa pappappaa paapapapapaa.
C! I! O! Chokorēto
Chokorēto
Cho! Cho! Cho! ii desho?
Da yo ne chō! Chō! GOOD
Chō! Happii de ganbacchaundesu
Dakara chokorēto chokorēto
Cho! Cho! Cho! ii desho?
Da yo ne chotto dake
Chotto dake tabe chaou!
Too too late! Too too late!
Too too P! P! P! Come on!
Zukyun! Dokyun!
I won’t! Won’t! Won’t! Won’t!
Never! Never! Never!
Check-it-out chocolate
Chocolate
Ata tata tata zukkyun!
Wa tata tatata dokkyun!
Zukyun! Dokyun!
Zukyun! Dokyun!
I won’t! Won’t! Won’t! Won’t!
Never! Never! Never!
I did it so hard
I did my best
So, a bit (heart)
I ask you just a little bit
Quickly chocolate
Please give me chocolate quickly!
Pass me chocolate!
Chocolate please!
Check-it-out chocolate.
Chocolate
I can have a bit of chocolate, can’t I?
I think so, don’t you? It’s so good.
I’ll be so happy and can work hard.
So, chocolate.
I can have a bit of chocolate, can’t I?
I think so, don’t you? Just a little bit.
I’ll eat just a little bit of chocolate.
Too, too late! Too, too late!
Too, too. Please! Please! Please! Come on!
A Short video illustrating an approach to understanding voices
Stuart is unsettled by the voices he hears giving him conflicting messages.
He learns to interpret and recognise these voices as speaking to different drives within him -like Drive, Soothe, Treat.
One voice speaks to his threat system, alerting him to possible danger, His drive system comes on line and another chips in – combined they make ordinary situations difficult for him to experience.
Stuart starts therapy sessions designed to help him feel compassion for himself, his drives, the voices, and to work with is body, learning to sooth and make small changes. You may recognise a couple of the voices in the video.
Hearing Voices is a common human experience. It can often be linked to something difficult or painful that’s happened in the past -or happening now.
Although tricky at times, with lots of practice, we can learn to change our experiences…
Visions & voices, spirits, ghosts, apparitions, “manifests”- whatever you call them, if you do experience them then know this: they are real.
And if you don’t, then know two things: they are real andyou’re missing out.
But at least you can now see how it is in a more than half decent dramatisation on TV.
What’s a Swedish detective with an English name doing working for The Met in London? We don’t need to but maybe we will find out because John River is the lead character in a TV series, “River”, now showing in UK but coming to North America soon.
John River’s partner Stevie was recently murdered – but she hangs round to help him figure out who did it – and to cheer him up and have him remember to love to dance.
Meanwhile River follows one suspect who runs away and eventually hops over a high balcony intending to climb down but falls to his demise.
Then, after a long, long day rounded off to a Karaoke bar John gets home, has trouble sleeping and wakes up to find this same dead guy, Riley, sitting on his bed berating him and making it clear he got the wrong guy : “I didn’t do it.” “Wot, you want me to sing you to sleep?”
Meanwhile the dead guy’s pregnant girlfriend Tia gets in trouble because, since she’s understandably upset, she “acts out”, takes it out on River, gets taken in for questioning, gets leant on, “acts out” again declines to accede to authority, so inevitably the people in authority get pissed off and wield their authority – and have her sectioned. River visits with her, listens and lets her know she’s ok, if she plays the game- their game a little, she can get out.
“You’re alright Tia. Even as you are you’re alright.”
“Not everyone fits in this world.”
“You can do this.” “We’re alright.”
.. and he helps her figure a few things out and, as the dead guy Riley, himself, says to River later:
“she’s better off with him“
before he takes his leave and hops off and away over that balcony again, his job done, his last words:
“I only went out for an ice cream.”
River even has a consultant criminologist on his team – former bad guy, Dr Thomas Neill Cream, The Lambeth Poisoner who died in 1892 and about whose trial John River is reading a book. Cream seems less than helpful but does know a thing or two about crooks, cops, crime and killing but mostly about River himself and how to press his buttons:
“I am you. I am your darkest side”.
Now, if you think this is a bit to far fetched then see here about the Guardian’s exploration with readers on the range of experiences people report the many and diverse experiences people have whilst reading: from hearing a narrator to hearing the voices of characters and seeing them come alive when they read the words off the page, including those report they get none of that – and feel they miss out.
Despite getting along better with the ghosts, spirits, voices, or whatever you call them- or as River calls them: “manifests” – than the humans in his life,
“I find they’re more honest”
John River does finds one person who gets it, gets him.
The police psychologist being leant on by the top-brass to deem him unfit for service actually understands and offers to help him learn to trust other humans again. As part of that she invites him to a group that she runs: “Living With Voices” the flyer says, she describes it as
“A safe space to talk to the voices,
see them for what they are”.
The writing is top notch, the cinematography gloomy yet beautiful, the acting is stellar and not just from Stellan Skarsgard but everyone, including the manifests- or whatever you call them.
When asked “how long do they stay?”
John River replies…
“They stay as long as long they need to stay and then they go away.”
Exactly. Writers, eh?
“All writers hear voices or you can’t write dialogue” – Ray Bradbury
Writer Abi Morgan says the inspiration comes from her own experience – “I realised I have other people in my head and what a comfort they are to me.”
“I know from myself, I talk out loud. I’ve got children and they say to me ‘mummy, you talk to yourself all the time’. I realised how much I do have other people in my head and what a comfort they are to me. It’s not just about those who experience voices through mental health, it’s the voices we carry from our past, our future or experiences, that we manifest and I hope that’s something that an audience will identify with.”
Well I heard about the fellow you’ve been dancin’ with
All over the neighbourhood
So why didn’t you ask me baby?
Didn’t you think I could?Well I know that the boogaloo is outta sight
But the shing-a-ling’s the thing tonight
Would it happen to me and ya baby?
I wanna show you how to do it right…
Do it right. Uh huh. Do it right.
Do it right, do it right, do it right
Uhhhhhhhhhhhhhhhhhhhhhhhhhh!
Twist it! Shake it, shake it, shake it, shake it baby!
Here we go loop di loo!
Shake it out baby!
Here we go loop di lie!
Bend over, let me see you shake your tail feather
Bend over, let me see you shake your tail feather
Come on, let me see you shake your tail feather
Come on, let me see you shake your tail feather
Uhhhhhhhhhhhhhhhhhhhhhhhhhh!
Twist it! Shake it, shake it, shake it, shake it baby!
Here we go loop di loo!
Shake it up baby!
Here we go loop di lie!
Bend over, let me see you shake your tail feather
Bend over, let me see you shake your tail feather
Come on, let me see you shake your tail feather
Come on, let me see you shake your tail feather
Uhhhhhhhhhhhhhhhhhhhhhhhhhh!
Come on! Come on baby! Come on! Yeah come on babe!
Empty hours
Spent combing the street
In daytime showers
They’ve become my beat;
As I walk from cafe to bar
I wish I knew where you are;
Because you’ve clouded my mind
And now I’m all out of time
Empty skies say try to forget
Better advice is to have no regrets;
As I tread the boulevard floor
Will I see once more;
Because you’ve clouded my mind
‘Till then I’m biding my time
I’m only sad in a natural way
And I enjoy sometimes feeling this way
The gift you gave is desire
The match that started my fire
Empty nights with nothing to do
I sit and think, every thought is for you;
I get so restless and bored
So I go out once more;
I hate to feel so confined
I feel like I’m wasting my time
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