I spent the majority of the past couple days assembling mini-comics & preparing promo packs. About halfway done with the process. After I get those out the main priority is QRD.
Last night I worked on some music for a new musical project of mine. I like to wait to explain things until I know they’re going to come to fruition.
Hung out with Martin Newman (Plumerai/Goddakk) tonight. Talked about the problems in the type of music we do in the music industry. He was talking about trying to write an album’s worth of TV commercial jingles & hiring a model to front it as a band. Reminds me of when I was going to do a no wave band where I pre-recorded everything & hired 4 models to pretend to play. At $70 an hour, I might make my money back by the third show.
Went to a bar I hadn’t been to on a regular basis in ten years. The same staff was working. It made me feel strange. Questioning what year it is. Me & my issues with time travel.
I had a dream a few nights ago that I’ve been wanting to write about. I’m not writing about it my normal dream sequence style because of how clearly various things about apply to things I’m working on. So it was the night I was listening to the Michael Gira solo stuff & in the dream I had driven up to New York to see a play Michael Gira had written. This play was performed in a large house. There were 4 rooms upstairs & 4 rooms downstairs in which sequences were being performed simultaneously. Each room contained a scene important to the definition of who the lead character was as a person & the order you saw them in could alter how you perceive the person & while they all worked individually, they added to a greater whole (which is what I am attempting to do with Ultimate Lost Kisses #11-#20 if it ever comes to completion). But where it got really creepy is in what was the final room on my personal tour of the play, my grandmother was there, being herself with her mind not working properly & everyone laughing at her while simultaneously saying what an incredible actress she was & I was yelling that it was exploitive & I was trying to get everyone to leave the room & to calm her down & people thought I was part of the play (& maybe I was?). Which brings things around to that people keep saying that I should incorporate my Grandmother into my work (see her in the XO#2 avatar?). & she will be integral in another storyline in XO in the future, but as far as my actual grandmother instead of a fictionalized one – it feels exploitive. Maybe I should try to do some recordings with her for my personal use &/or that of whoever eventually inherits my intellectual property (at this point it’s looking like my nephew), but real life is sometimes not fitting for digestible art. Real life gets in the way of art & art gets in the way of life. Which is pretty much where I’ve been sitting for the past ten years. Which is the whole reason that I started doing the comics, they’re escapist stories & I don’t know how to escape in other mediums. The collaboration in my comics helps it really become someone else’s world instead of mine. Sorry for the buzzkill of reality (or as I’m referring to it lately – casual bomb).