Monday 19th of March, 2001
I look on the Apple site to see if there is any hope for getting a spare "O" key. Very little hope at all - the site is user-friendlied into the ground. I have to register before I can even access their user forums.
The forum does link me to a site called Powerbookguy.com in the States, where I can buy a new keyboard for $139. I think at first that this is a bit extravagant for one broken key, but then the idea strikes me that it may be a way to "give something back" - after all, I could offer all the other keys that are not broken to other, equally unlucky, people.
Perhaps some of my contacts can help me...
(Considering Untitled - perhaps it could change tempo - go from 80bpm, maybe even 60, up to 120bpm? Just a thought.)
At Walker I work on another box - the cutter guides were drawn up last week, so I just have to do the Photoshopping. This goes smoothly, and I finish it by lunchtime. Donna briefs me on another Secret Project picture that I'm to start tomorrow morning. It looks like the secret project will be a lot of fun...
I get home and have some lunch and then resend the job that I sent yesterday (which did not, apparantly, arrive). Then I finally put the CDs I bought last week - the King Crimson, the Magnetic Fields and the Tortoise into the CD player, along with the CDs that Laura gave back when she came over to collect the Mike stand last week. finish a Scholastic job for Ness. This takes me more or less until dinner. After dinner I put 69 Love Songs on so that I can listen to it properly. It actually takes a lot of concentration, but it is a superb record. The lyrics in particular are so clever, I could kill him. I almost wish that a "straight" singer could do them (I mean mainstream rather than not gay) - for example something like I Don't Believe in the Sun is a marvellous bit of songwriting. Of course there's How Fucking Romantic as well...
Veronique calls up to book me for the Soundwave, and we have a long chat about... everything really - Guitar Craft, education, music and everything else. How teaching is performance (isn't everything, I wonder - I mean is performing inherently false, or can one have an authentic performance? I certainly hope so), and how selling yourself around for gigs is crap.
After that I call up Laura to see how her gig last night went (a lot better than mine, apparantly, at least from a numbers-in-the audience point of view), and we have a chat.
I listen to the instrumentals I've been working on - I add cymbal crashes to the Travelogue one. Sadly the CPU keeps cutting out. Probably not a good idea to add much more ("B-but I want a thousand guitars, a-and a choir. Two choirs. And a banjo")