Other SA towns “much shittier places to live” agree Joburg, Capetown inhabitants

Remarkable social progress has been made today, after Capetonians and Joburgers of all walks of life set aside their differences and agreed that, while both their respective cities were indeed crap places to live, Port Elizabeth (as well as thousands of other towns across South Africa) is a much more shit place to live in comparison.

The warring tribes, which have long and bitterly argued whose city is a better place to live, came together in hours-long peace talks yesterday, eventually emerging united in the belief that that “at least we don’t live in that windy craphole”.

“The history of this battle has been long and vicious,” said Cape Town Mayor Weeva Mountin, who attended the talks. “We have a dark, ugly history of pointless online flamewars and tongue-in-cheek blog posts trying to convince others - but mostly ourselves - that every city but ours is a far, far crappier place to live.”

Pictured: Joburg artist's depiction of Cape Town

“Today we’ve accepted the hard facts of the matter,” he said. "We’ve both realised that the other side is kinda right, and have accepted that our cities are in many ways shit places to live. However, we’ve also agreed that, while we might live in godless pits, at least every other place in South Africa is a much, much worse place to live, like, say, Potgeitersburg, or - Jesus - Mahikeng. God, can you imagine?”

And the cities’ citizens agree.

“We’ve been here a thousand times,” said Capetonian of two-decades, Arvie Gannipster. “Joburg is shit because it has no beaches, it has no small hipster bars that serve Thai-Eskimo fusion food, it has no art scene, and worst of all, it has no huge beautiful mountain.”

“Yes,” agreed Johannesburg resident Victor Mofcrime, “just like Capetown is a shithole because it has no lucrative financial scene, no high flashy lifestyle of clubs and women, and no stock exchange.”

“But we’ve finally come to an agreement: at least neither of us live in port Elizabeth. Or, Jesus, literally any town in fucking Kwa-zulu Natal.”

Pictured: Capetonian artist's depiction of Johannesburg

Scientists have welcomed the findings as “utterly factual and not at all biased.”

“You might think that this is just a case of Urban Cognitive Dissonance, that they’re just obliged to not hate these cities just because they live there and this brings about a warped sense of belonging,” said senior researcher at the Centre for Comparative Research, Eliza Tombself, “but in fact it’s a 100% legitimate, evidence-based claim to make. Quite simply, it's good, hard science.”

But despite the controversy, Port Elizabeth residents remain unconvinced.

“Oh come on. They're just totally jealous of our giant flag and unrivaled ore-loading facilities, not to mention our status as primary motor vehicle producer of SA and largest supplier of vulcanised rubber tyres," said Port Elizabeth Mayor Portia Harboursen.

"Yes, we may have a foul-smelling industrial stretch, incessant godawful wind and basically all the bad things of both those cities [of Cape Town and Johannesburg] in general,” she said, “but at least we don’t have e-tolls, or an economy based solely on coffee-shop takings and pretending to be an artist.”

“Besides,” he added, “I think we all know that, actually, East London is the real shithole.”

Muse and Abuse would like to state that at least we don’t live in Zimbabwe. And if you do, well, at least you don’t live in Burundi.

Artistic tendencies turn piece of crap into theatrical genius

It was a close call for local theatre production company UpStage Productions this week, after theatre critics’ and art reviews’ tendencies to obsess over themes and metatextual references made their latest show Glass Grey Sky an “insightful, profound piece that evokes a self-aware critique of postmodernism” instead of just a piece of really crap theatre with no real point or production value.

The show, which was written and directed by Arya Dzjoking and featured out-of-tune violins, out-of-sync choreography and seven instances of actors forgetting their lines, has been hailed by reviewers and physical theatre experts as “just ambiguous enough to be called ‘spectacular’”.

“To the lay man or woman, it might have looked really awful,” said reviewer and long-time Physical Theatre expert Harold Cress. “I mean, if it wasn’t for my ability to look past the flat, dead soundtrack and interpret this as a direct symbol of the paucity of life and lack of vim and vigour in the post-modern subject who inhabits an abyss of futile dreams, or my training which has prepared me to look into those expressionless, bland faces with too much make-up caked on their cheeks and read within them a scathing critique of the deadness of our Self in the modern digitalised era and our obsession with socially mediated appearances no deeper than a thimble that in no way form a meaningful representation of our true selves and beings, then it just might have been the worse, trite piece of shit of I’ve ever watched. But like I said, below the surface, it was genius.”

The show, which has purportedly gone over the heads of over seven thousand people without Dramatic Arts degrees or Arts Journalism training since its opening last weekend, will now tour the country, debuting at R150 a ticket.

“Some people have gone to see our show and been all like ‘oh, I totally didn’t get that, what the hell did I just watch?’,” said show director, producer and choreographer Sim Bolism, “but then again, what would those artless, ignorant pricks know about dance?”