escapist media in general is an ongoing fascination for me. media written with escapism as a main priority typically requires very little thought from the reader - the whole point is to kick back and live vicariously through a fun story, after all. they’re narratives written to prioritize reader comfort.
but because they are written to be as unchallenging as possible, they often come with a set of underlying assumptions that can be just fucking fascinating to unpick. like yeah, why IS it assumed to be escapist and indulgent to enjoy colonial wealth without thinking about it in regency fiction. why IS the self inserty female protagonist, who is assumed to be as universally relatable as possible, written to be sweetly naive and sexually inexperienced. why does this “queernorm” contemporary world replicate patriarchial structures exactly but just with Gay People Allowed. why are these ideas assumed to be easy and comforting? can the writers not imagine anything better than the status quo but except maybe with more gay people and poc if you’re lucky?
the fact of the matter is that “unchallenging” fiction tends to just simply replicate dominant cultural narratives as a point of comfort. we won’t challenge the reader, so we won’t think about the way we write certain things. everything we think of as comforting and safe are, of course, universal, and could not be founded on any harmful ideological assumptions. there is nobody who could be alienated by this.
and that’s the sticking point to me, in terms of escapist fiction: it’s always necessary to ask whose comfort is being prioritized. you’ve got to interrogate who gets to escape and the mechanisms by which that escape happens. escapism can be good and necessary to survive the current world, but it does not exist in a vacuum separate from the real world, even if it pretends it does!
When farmers grow the same crop too many years in a row, it can leave their soil depleted of minerals and other nutrients that are vital to the health of their fields.
To avoid this, farmers will often alternate the crops that they grow because some plants will use up different minerals (such as nitrogen) while other plants replenish those minerals. This process is known as “crop rotation.”
So the next time you find that you need to step away from a project to work on something else for a while, don’t beat yourself up for “quitting” that project. Give yourself permission to practice “mental crop rotation” to maintain a healthy brain field.
Because I’ve found that when that unnecessary guilt and pressure are removed from the process, a good mental crop rotation can help you feel more energized and invigorated than ever once you’re ready to rotate back to that project.
: A crucial part of crop rotation is that the field is let fallow sometimes. You plant what’s called a “cover crop”, which is something you don’t expect to harvest– it’s there for its roots to hold the soil in place, and often it’ll be what’s called a nitrogen-fixer, i.e. a plant that can pull nitrogen out of the air and fix it into the soil with its roots (but sometimes it won’t, sometimes it’s really just there to shelter the soil surface), and then you’ll till in that cover crop, or let the frost kill it and the stalks lie as mulch, and then you’ll rotate productive crops back into that field the next season.
It’s important, though, to understand that during the fallow period, no nutrients are removed from that ground, and nothing is expected of it. Whatever the land grows then, it keeps, and it gets tilled back in or decomposes in place, to return its energy to the earth.
We’re not allowed, in our current society, to just let our minds be fallow for a bit, to produce nothing for export, to make nothing that can be sold. But it’s part of good land stewardship, to give every field time when it doesn’t need to give you anything back.
So yes, grow and produce different things from time to time, rotate them around your mind and exercise different mental muscles, take different things from your creative processes, yes– but also, give yourself a fallow spell now and again, and let the field of your mind grow things for itself to keep, to break down and save for later.
Ok, I NEED you to understand just how insane even ATTEMPTING this was for them.
1. Playing an instrument is difficult. Doing so in sync with others even more so. Don’t think I’m stepping on any toes saying that.
2. Dancing is difficult. Doing so in sync with others even more so. Still not controversial.
3. YOU AVOID, AT ALL COSTS, MOVING YOUR BODY WHILE PLAYING A WIND INSTRUMENT. To make the correct, pleasant sounds, you need to be in the correct form. And that form involves your ENTIRE body, even your legs when sitting down.
4. “oh, but I’ve seen marching bands before and-” MARCHING BANDS HAVE ENTIRE SCIENTIFIC FIELDS DEDICATED TO FIGURING OUT HOW TO MARCH WITH MINIMUM BREAKING OF PROPER FORM. A marching band tries to be as smooth as possible while moving, so as not to jar their instrument, mouth, neck, arms, torso, or anything else.These ladies and gentlemen are BOUNCING and still playing properly, what the FU-!
5. AND ANOTHER THING! Wind instruments and dancing BOTH make demands on your breathing, so the fact that they are dancing (making you breath faster for extra oxygen) AND playing wind instruments (making you effectively hold your breath) AT THE SAME TIME is HUGE. Their lungs must be MASSIVE.
All of that also; the song is Sing, sing, sing (with a swing). If you wanna listen to some of THE SPICIEST big band ever recorded. Its a big hard song and this band does it expertly.
