Podcasts about Humble pie

  • 662PODCASTS
  • 910EPISODES
  • 51mAVG DURATION
  • 5WEEKLY NEW EPISODES
  • Dec 15, 2022LATEST

POPULARITY

20152016201720182019202020212022

Categories



Best podcasts about Humble pie

Latest podcast episodes about Humble pie

[ENTER THE MULTIVERSE]
Cinematic Adventures, Vol I.

[ENTER THE MULTIVERSE]

Play Episode Listen Later Dec 15, 2022 26:28


DIPLO/THOMAS YOU THINK THIS IS A FUCKING GAME?! SUPACREE THAT'S EXACTLY WHAT IT IS. DIPLO/THOMAS MAYBE TO YOU! SUPACREE I AM YOU!!' DIPLO Reveals The Seer's Stone. Oh, SHIT, Dude. Where'd you get that?! What's this story. No, don't go in there. Oh, look, a story— I told you this was going to be a long night. I was knocking back preworkout at 8 PM exactly, far out of sight from Travis Apple but not entirely out of mind, it was a personal feat to walk into the gym anymore, let alone by his desk—my spirit seemed to have other ideas at an occupation than I myself had formerly thought, but I was at clever best being dissociative now as I was ever, something springing from within me to be let loose, and though it could be, I thought my best to tame it. Professor Zimmerman It's you again… It's always me. So it is. I found something peculiar in a playback of last night's stream of the observatory— (But) How peculiar? Peculiar enough that I thought you might actually take interest. Touché. — I am dead. Oh fuck—he's dead too?! How'd he die? Let me guess—a drag race. Good guess, but no. Was it murder? It's always murder. Now, now, what's this? Don't touch it? What is it? —touch it and see. Ewhe. That's what I thought. Ketamine. Ketamine? Ketamine? Damn; are those two still doing drugs? They're alwYs doing drugs. That's semi-believable. Anyway. Was it a heart attack? Bingo! This is a heart attack! GODDAMMIT, YOU TWO—KNOCK IT OFF. Sorry— —sorry, mom. PROFESSOR ZIMMERMAN is looking through a telescope. Professor Zimmerman! What? What do you want? —my name in the history books; particularly and more specifically for discovering a previously unknown planet and it's inhabitant species. Fair. I meant— —professor Zimmerman— What do you want, from me? It's not entirely unrelated, I promise. Don't make promises you can't keep. Why would I do that? I don't know why women do what they do. That's sexist. It's honest. —no, to just—assume that I'm a woman. [an awkward silence; professor Zimmerman looks up from his studies to examine the short, rather stout, and particularly androgynous student before him] Oh, uh— [beat] I'm a woman. [in relief] Oh! —It's okay. Still, [disgruntled sigh] —it was sexist. Ugh! Anyway— 1.00 mile 10:17 Deadmau5, album title goes here I felt horrible for Brandon, who was eagerly giving his all—but by now physical attraction meant far more than too much to me, my sex drive climbing seemingly by the minute, and my own physique shrinking down into an admirable average, if not above average, by American standards—excluding of course, the Californians, by which standard I was still morbidly obsese as ever, and might as well just pair up with the likes of Brandon, who may have been equally gifted, were it not for his massive weight—then, it was also a selection of genetic particularities that my drive seemed to be fed by—and between the overall unremarkable appearance, it was the bad housekeeping and general disability to take the four otherwise well-mannered children into habitable people—not entirely his fault, and my own arrogance, failing to mention that by now I had become estranged from my own offspring, giving myself a self-entitled badge of abandonment. So I might as well be nothing. If not a mother, I thoughttrapped to myself—but I didn't think much of myself, besides being In some sort of hell, encapsulated and in my own body. What about him? No, that's—that's deadmau5. Well, he's a man, isn't he?! I wish you would leave me alone. — This is scary. You can't just—back up like that— This is too much light. It's not “too much” It is “too much” So that's it? … (Cont'd) That's it? Oh, I know this one. This one's so good What's this one? “The Liight Bringers” Are you sure that was it? Something like that. No. Something like that. NO. Ugh. I hate this. I hate him. I hate this. You always say that. I always hate it. That's not true. Look. I'm not looking. [she walks away] So that's it?! The Cosmic Owl soars in overhead; He is old, he is wise, and now—he is tired. HE?! I thought it was a ‘she' This is the other sides THE OTHER SIDE? [EDC .5] OH. Fuck. This is going to take forever to explain. Yeah. Where's Pasquale? Where isn't Pasquale? Touche. I felt about a hundred feet tall standing next to Pasquale Rotella, and though I would never admit or mentioned it aflojdfffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff There he is. —and though I never would admit or mention it aloud, I liked that he was short, overall—as it made him seem less intimidating; I was, after all, rather morbidly afraid of him, as I was of anything at all, for that matter—anything that could or did have the power to make or break me. And he did. I found him. Where was he? Aha. What? I mean, it's a place, but it doesn't have a name, really. Oh really? What place is that? If I knew, I'd tell you. Tell me anyway. No, let him. Where have you been? Again, an outstanding diecotomy; If I could say the words to weave the space and time between us, Then would have, or even, Rather smittenly, I'd sing them With the Melodies I'm making (Like excuses for the work that I'm not doing) Or the worlds I'm still not moving with the winds beneath my wings— The wind beneath my wings. What the fuck is this? I don't know. In the end, we are nowhere Sleepless and still and tight Maybe we shouldn't fall asleep Saving what was left behind Standing outside the chalk outline Beside ourselves in time The only thing I want, is the last thing I need Awake and sleepless as stars shine What the fuck is that? You know what?! Stop asking me! WHATTHEFUCK IS THAT? I STILL DON'T KNOW. Let me see. It's a— Let me see! It's a planet. No… It's a planet, and I'm telling you it's a planet, and it's orbiting a star that's bigger than ours. That's a lot of speculation. That's a good eye— It was annoying but it unwelcome how often I had to stop and write, I knew by now if I didn't write what was in my head right then, it might take such a long time to come back around, even if it was good, that by the time it did, it would be out of context. There was nothing I could do to really save myself, or stop myself—and so I let it happen, and while most people were stopping to text, I was in a way, talking to myself—or even, my highest self. It was too late to find anything good to eat until the next morning, but my appetite had been a ravenous and unstoppable force, swapping out hat should have been a healthy amount of sex with a questionable amount of food. Lest not I forget How deep in love I would be, or How deep in love I was, once, Or will be, once I depart this In the wake of wonder, Dreaming, Slipping not into a silence— There I was, at the end of it, Remembering; Never had I once thought What was just a long lost song Becomes none, Or all of my cut cloth Fuck this nonsense. It's not—nonsense. It's a lot of nonsense. It's definitely a lot of something. — Don't shapeshift into my cat anymore— —don't tell me what to do. Don't do that. It's gross! How is it “gross” It's—my cat! I love cats. Stay away from my cat. DON'T TOUCH THAT CAT. is that a euphemism? NO—just— Lol. It is not possible that meowingtons is still alive. I mean, it's possible, just not probable. — Damn! Fuxk! This is a long ass story! So tell it then. I mean—how?! What is that thing, even?! Ku//Ka Well, that's it. What. I quit. You can't quit. I most certainly can quit. — You're going to risk your entire career on this thesis, My entire career is this thesis. Listen to me. You know I valbue your opinion. Well, then listen— —but I value your scientific contributions more. Just trust me. I don't trust you. Then you don't trust yourself. [she leaves the professor in a hollow silence; he lights a cigarette] I hate that she does that. — We probably shouldn't be using this equipment, guys. What?! Why not?! I don't care. Its—really old. 10 26 I don't care. What the Fuxk is this I think they're coordinates. To fuckin—where?! — WHAT THE FUCK IS WRONG WITH YOU? What the fuck is wrong with you!? Nobody quite knows. You're so clever. You're an idiot! I'm not an idiot. I'm a doctor. You're a fucking idiot. I'm Dr. Idiot. Your entire career It's a job. It's your career It's a profession. But, professor Zimmerman Doctor, Zimmerman, now, technically. You're an idiot. I'm running out of synonyms. I had tenure. — 9h my God, just PLEASE stop writing! But if ibstop writint l, you dont exist. Qcrually, i exist either way. Not 5o me. Ita a conceprtional universe. It you can think of it, it exists somewhere! Oh, damn. Yeah. Like damn damn. And the more you write rigut now, the worse it gets For me? For me! The Evers, Who What When Where Why and How. WOW. I know! I just now mafe that connection. These guys are my favorites. Who are they? Cut to: A young, brown skinned girl points to the top of a bunch of pinnaples, and shouts, My brothers! Her mother, pulls her in another direction, explaining sweetly and softly, No silly girl, those are pinapples! She picks up the girl, who latches on around the womans neck and sets ger head down over her sjoulder, staring at tge pinapples as she is carried away. She stares longingly. __ Sit down. Is there any Chinese left? A fortune cookie. Ah, that's good. I walked in locked in; Pistol cocked, and pointed towards my head You'll only want me when you have no options left, Or when I'm dead “It's clever” They all said An ambitious endevour End this life, and be devoured By the miester and the misters of the hour How about now? (Or–) How about Now, or How about Now, or How about Now? Or, How about now, or How about now, or How about now? Or, How about Now, or How about Now, or How about Now? Now or Never I said “That's clever” or “How about Now” What do you want from me? I lie for a living; A literal drama queen, don't eat turkey on thanksgiving I'm the worthless word for Surface level thinking on this Earth, or Picking hearses with my cursor, Mercenary, Mercury, or Just a Mercer–But not a Mercedes; I'm paid, but I hate paying; Made the game, but I hate playing I remember making hate to be created Just for entertainment– A belated invitation, Now i'll face it, Back to Basic– But she's laced with Masonry; A tastemaker, maybe But she just wants a family, Whatever that means Wow. How about now? Fuck this. Homelssness. I woul rather kill myself than stay alive I'd rather die than fight Don't want to write this: I'm just a diamond pressurized And i might never see the light I'll never see the lght I see the light There's no honor in suicide But i've devided my mind a million times And now like dynamite in a mine; Collapsed, collided, ad defined by All divine; You'll never see me shine, But deep inside I'd blind you; Guided by the tide, I've come to find you Down, I dive I'm not alive, you know I'm always misaligned But that's beside the point Another suicide attempt Is in the midst– But just what is it; More than just one, is it? Rather die than listen to Skrillex Or take pills just to chill with it For real? this shit again? It wasn't real, all to begin with It's only mental illness cause i'm penniless Now i've got so much to deal with Another wound to heal, Another deal, perhaps I'll make another million in a year, If i'm still here– And i”m still here– And i'm still– Who are you now, and— Who were you then; And— Which part of this, would you want— Or did want, Or just wanted Pondered before in a vision, Outfitted in hooded drapery, The heaviest fabric; A rosary hung from his neck But can't recall the connection In this ressurection I can recall him, But never remember The calling Let's call him Oh, fuck man. ‘Friar Tuck' THAT WAS IT. The high priest of asencion, Was burned in her memory— Not as a friend, But a friend of the enemy; Who she loved and protected, Despite all the envy, She felt for Persephone— Just an unjust figure, A fictional figment of imagination But— Who was I then And who am I now; And what part of him, Would I want, if I wanted Or wished for, Or honored A friend, long forgotten Not a high priest, But a Friar That was it— But before, As Mary, Joseph, and Jesus On the front lines of the war, Not to be started, but ended, as in Preparation, a blood sacrifice I've prepared In a premonition that I'd Give my whole heart again Honest, And honestly slain in the eyes, Of a man I remember, But didn't, when it mattered— Then did, right in front of him Who are we now, and— Who were we then; Let's find out, As time's running out again “Yes, I know him.” She sighed, eyeing from over the rims of the glasses she purchased only earlier to assure she had hidden the tears that she cried for Him— Neither a friend or an enemy, rather The ghost of a shadow she hadn't yet met with again, since he entered her presence Shifting into a tent Now, ripped from the pages of a book she cherished, A page which she promised to never diminish or tarnish would go up in ashes, As totems would fall, Wishes would become granted The PyRAmiD Spell (For Pasquale Rotella) gave gave the man honorary doctorate, and then reneged it, nigga thought he was actually bigger than big sister sick spitter, rip n dip listening to anything but Skrillex that shit is for kids ‘Check it' I hate midi gimmie a synth, something gritty, I'll make it pretty Come and try to get me, I been dead for centuries, Unsolved like a mystery This image don't mean shit to me, I sit to think, I wait to speak, I leak some information on the interwebs just to see how fast it comes back to me I'm actually a master “Untitled 07” It's like a 24/7 job, can't get no rest in, At best you're looking like a slob I kamikaze ‘em all, I am your mom, I will tell you what you are, to me By now, you should know, or see Just a name on my computer screen A friendly neighbor on Easy Street A wish, A lucid dream, A misalignment, so its seems So let me tell you what you are to me: Just make believe (Just make believe) Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream I'll tell you what I've seen, and what I see (and What I see) I dare to dream (I dare to dream) But please believe me, I'm as evil as can be Don't let my anything deceive you I'm a fleeting, bleeding Beaten bride to be No, don't believe me I'm the fire and gnashing teeth they preached to you May everything I've written one day reach you And beseech you, Just like you did to me Now let me tell you what I see; Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream When I wash up on the beach, From blazing fires of burning seas, Let me sing you all to sleep For every tear I often weep To dream of you A lucid dream Just fucking make believe; And I can make believe we fucked Just so I can get to sleep (Are you proud of me?) Hey. (Sarcastically) Oh, Come In. (Sighs heavily) I fucked up. I'm not surprised. I'm not surprised. Don't copy me. I need help. No arguments there. Dude, I'm serious. __ So first of all oh God, now what– I'm not racist You're extremely racist Racist By Proxy I'm not Racist They do look alike. Check this out: WOAH. That's…not a coincidence. That's definitely not a coincidence. Fuck. This. Shit. Here, take this. So, you dropped this totem… Uh-huh. In the ocean. Yes I did. And that one Ooof. What about– That came off on the moped. How? When I came off the moped. So you admit it. SO! He only let me ride it cause he wanted to ride ME! Nice. Did you sing to him? Uh, I sang for him? What's the difference? Here's every song I've ever written about X.X Just kill yourself. Should I then? I mean, perHAPS. I mean, maaaayyyybeee. You know what? I do know. Fuckthisshit. Fuck it, then. I'm out. I quit. Go find SupaCree. This…is impossible. Nothing is impossible. Except for that. Oh. “Oh.” No, i'm serious. You look serious–I'm just saying. What is this? Don't touch that– What is it? It's– [a tiny explosion] –ugh. Volatile. What the fuck are you into? I told you. You said “music.” What is “Music” [very deep pondering] I hate you. We have to find her. You have to. What! You're not going to help us? I have other things to do. Like what, dude? Like what, broh. Feed My cat; Your cat died. Walk my dog– You don't have a dog. I'm getting one. Oh, Jesus Christ Don't get all religious on me, now, not after that. Not after what? Yeah, which thing? ___ Man. Get me out of here. [shrugs] I hate being stuck in your head. What is THIS. Uh. play dead. What's up with your dog. Ruff. Good boy. I'm a girl. Uhhh–good girl. Wait. Hm. Did that dog just– [???] Nevermind. I've been up for 6 days straight. Tour life, buddy. Ah-huh. Uhh. Can I take a shower in your– Take a sho–? [dog grumphs] Uh, yeah, sure. Thanks. *Shapeshifts* Wow, that's cool. It's so stupid. I came in late to the office, so to speak; it had been an off day, after an off night, plagued by what I was sure to be some sort of demonic magic—I was moving slowly, off beat, and irritated—nevermind the lack of energy, as I moved about as steadily as I could—making arrangements for the next trials to come, as it seemed nearly impossible to move ahead, and yet—somehow, I had been given what seemed like one final chance to survive, or not. I had spent the first part of my day, somehow waking with a gust of light, and ready to take on the tasks at hand—then quickly wiped of anything holy in me by the outrageously disgusting hacking and howling of the seemingly-programmed man-or-something-alike, and into a manic-semi-conscious desperation to piece together what was left of my life—seemingly nothing, but somehow still pieced and patched together by music, the overriding theme being that I would be quickly booted out of any position unsuitable for me; and by now, I was just about unsuitable for everything, besides gym crawling and throwing together pieces of literature unlike any I had before seen, as I was, assuredly beginning to look in every direction for other writers which may have matched my style of the then-present day and age, and to my shagrin had found nearly nothing to gawk about, but at the very least had picked up some novels noteworthy in nature, as they had made me laugh, or somehow otherwise caught my attention. Now in my Arsenal, I had one novel, each respectively written by a woman, a white man, and a black man—every book I had otherwise been drawn to written by black women were, upon cracking to open, too-stereotypically black, or about being a black-girl in some kind of way I knew too much about and had absolutely no interest in reading. I had no idea what caused me to look into a world I had all but shut out of my mind—this someone and something had haunted me for months and even growing into years now, first affectionately, but now growing into an uneasy and painstaking, critical list for something deeper. I hated my ex husband for bringing me to this, and, as I looked at the clock at 5:55 exactly, nearly vomited in disgust at the sprawling obsession I would have to somehow quiet—as there really was no halting the plague of tragic recouping thoughts of Dillon Francis at random—now, daily, for quite some time, even as the automatic writing had nearly stopped entirely; I had become entrapped with daily reminders of things I had written, now welling up with spite and anger, that I had even allowed myself the obsession to begin with—especially after what had happened—or what had not happened—with Sonny, whatever way you wanted to look at it. Now; just left with a burning lust and motion sickness beyond my wildest control upon approaching the matter if it all, nonetheless with peaking curisosity, as he had walked in and out if my dreamscape like a picturesque bandit, even hijacking my own sexuality—now almost didn't want or dream of anything else, and with the un presidented amount of ‘decoys' life had thrown at me—Bruno, the bird speaking man from Belgium with the eyes that burned in striking similarity to Dillon's—and then again with Gabriel, the man who had hired me to DJ in the small cerveceria in Mazunte, who could have been his brother'; a dazzlingly handsome, if not perfect near-replica of Dillon Francis, who, by that point, i couldn't even bear to look at, let alone conjure the spark or touch of romance—even after multiple suggestions that he and his girlfriend had just broken up. I never allowed myself for a moment to believe or think that Dillon—or any of the men I fawned after, for that matter, in reality, a very short list—would ever be settled with the idea of me as a perfect fit; no, I sat in the certain reality that I was cursed, living in the opposite exact of the Allison Wonderland archetype—a woman who I theorized may have been Skrillexed and Dillon Francis'd herself—it seemed to be a pattern of hypnotism I was finally wrapping my head around, and even had learned to respect if not envy: I wanted the codes to create my own version of the worlds I had been spun into—and while I would more than likely never be a light skinned, light eyed beauty Queen; perhaps my own kingdom was meant to be of wit and wealth, rather than vanity. Still, headed back Ibto the desert, I found myself scrolling through open guest lists, excited to take my longtime best friend turned literal goddess club crawling, looking for industry and network connections, if not at least a sex partner that could keep up with my needs, now furiously tearing at me from the inside out—as I scrolled, RSVPing for any acts I hadn't yet seen but had heard of, I found myself trailing off in thought and perhaps looking for something I hadn't realized I would stray into; I knew specifically that Dillon had a residency at the Wynn, and —though I also knew I wouldn't be caught dead at this point anywhere I knew he was, or especially stupid enough to pay for it. Now it was torturous, knowing how regretfully physical my attraction had become—understsnding from my interactions with the aforementioned that I was drawn to Dillon for his features—his eyes, his hair, and everything in his silhouette from his jawline, to his lips and brow drove me absolutely wild—however, I had learned about my very fragile psychiatry from my obsession with Skrillex, or with Sonny—neither of which I wished existed, adding Dillon Francis to the list of fictional characters I pushed further into my imaginary incineration box, where I put everything that not need affect my actual emotions or actions; Dillon Francis, a wealthy and talented, very handsome man—could not exist. I wished more than ever that I wasn't dark skinned, that I wasn't heavy set, that I didn't come with a flaming dumpster full of trauma and baggage that no man wanted or needed, but especially not the wealthy and handsome individuals I had spent very much of the last passing years writing about and fantasizing over, finding it respectably impossible to even have flings or sexual experiences without either of the two most rampant figures of my infatuation crossing into my mind and shrouding me with guilt and shame—and yet, here they were, so out of my element that I continued to agree with myself and the universe that it would be dillusinal to think myself a match for anyone so high-achieving. Nothing I could do or say could shake the fact that despite all my efforts to break through, all it had seemed to do was create a broken down individual, ready for enslavement in the working class just to stay housed—my music aspirations both hanging above me, and somehow fading away into the distance behind me. I hated myself. But more importantly, hated Skrillex and Dillon Francis for living the life I somehow thought I wanted and needed. What is the definitive definition of the word Skrillex? Skrillex: noun...right? What, you don't know? I know! It's...a noun...right? Right. Right--- ---Right! Could also be, an adjective, I guess--i? You guess?! You have to know. I mean--- Coughs ain't shit Skrillex ain't *coughs Satan ain't shit Bitch suck a dick Slit ya wrists On ya pissed off Little ass nigga. A loud, abrupt cough disrupted my focus; I was 5-sets-of-8 out of 8 and just feeling my heart begin to pump, as sweat poured from my temples and my sunglasses steamed “Man, fuck Coughs.” Whoever she was, even if it was just one of my infinite inward selves, this was some satanic shit. Now I hated Skrillex—not that it mattered, and as he was a living legend in computer animated music, or whatever voodoo shit he was responsible for that had sparked an entire uprising of revolutionary artists and producers spanning a generation or more—and I was damned-if-I-did, and damned-if-I-didn't love, like, or listen to him; all of which I did, besides the latter higher love by Whitney Houston, God rest her soul, blared over the gym's loud speakers, as I, more than likely looking just as superficially occupied as any basic broad, scrolling away on Instagram or texting her replicas, jotted down the rest of the thoughts that had nestled themselves in my mind's eye, as the coughing, which had followed me everywhere for nearly four years, beckoned to something—searching for purpose if not means to an end. He had Kayla Lauren, a plastic, streamlined representation of the all-American-deem girl, not to mention a “collective” of other broad women of sorts, probably all inwardly clawing just as I had at one time, for a piece of Sonny's heart, or whatever was left of it, after what I could have only assumed to have been a blood sacrifice of sorts, for his placement atop such a steep pyramid of success. What if, every time someone coughed—someone took a picture? I thought about the millions of hacking imbeciles and inbred, backwards savages who had crowded my ears with the putrid sounds of Satan's show choir, a coughing and excessive hellish representation of how the human race had gone awry; If I had been famous, or on my way to it, I would be burgeoned with photographs, as I had been in Mexico without knowing why or how—people sometimes slinking behind their phones as if to secretly capture a candid photo, I myself, pretending not to be aware of it. Cough cough. Ugh. If every cough represented a fan or something of the sorts taking a picture, I almost reveled in the thought—I would have rather had a million flashing cameras at once than to hear another ingrate hacking up a lung in Satan's honor. I was horrified at whatever Skrillex was, and whatever OWSLA meant, though I broadly showcased the tattoo on my inner-right forearm, opposite of Sonny's—the boy I was sure was murdered by the fame monster itself, as Lady Gaga, though admirable, had blatently called it, or herself, or whatever “we” all were or had been once, or would be, collectively at the beginning-and-end of it all. I had seen broadly into the realms of infinity the night previous, and had settled on one, astonishing fact: all of infinitely combined shared a concéntrical center at which at any point could be accessed. Even typing such a concept, I knew it to be life-altering…if I was even alive. To think, I used to hate deadmau5– I hate deadmau5– You know—after that spat with Skrillex. GO TEAM SKRILLEX!!! SHUT THE FUCK UP!!!! who the fuck is deadmau5, anyway. But here I am, decades later. [skrillex] FUCK THIS NIGGA. I needed something to help offset the damage that was done. [someone coughing loudly] Fuck this coughs bitch! [trying on small clothes] Ohh. [kayla Lauren] [sadness] Aww. [dillon Francis] —well how was I supposed to know he was a— STOP RIGHT THERE! I'm...not moving. Yeah, you're not. Uh, okay? You know why? I didn't ask— You need THIS: What is this. I'll tell you what it is [beat] … Okay—what is it?' ILL TELL YOU WHAT IT IS. — Technically, If I do this every day, I can eat whatever I want— Just eat it. No. But I won't. Well, why not? Too Fat For Skrillex. — [C.C. Arrives in the parking lot to find her car has been vandalized...again.] ...Skrillex did this. On Jimmy Fallon. On Jimmy Fallon. Alright, then, kid—it's your dollar. I'll take “Skrillex Did It” for one dollar. But he's halfway across the world! He can shapeshift! Don't be stupid. What—! He's a shapeshifter, for real. We know! Just don't say it! I saw it. We all have. What the fuck, bro— Where did you come from? I've been here. Haven't we all? That's the spirit. What's a spirit? I'm glad you asked. As SUPACREE walks down the street, a man in the passenger's seat is seen to be the Egyptian God ANUBIS, before shifting back into hidden human form. Which one's that? Anubis, right? Googles 'deities' Oh, there he is: Anubis. Good. What's he want? Whatever it is, that's not what I was looking for. What are you looking for? That dark thing. Which “dark thing”? Flashback: That's inside me?! Flashback to Kite at Bass– UGH! Canyon. That's it. That's what it is. LET ME OUT. It's gonna destroy something. She. She–yes–apparently so. CUT BACK TO Fuck you, Skrillex! Stay over there and be Skrillex with your fucking–models–and you coughs piece of fucking–peice of fucking shit, peice of shit. Oh SHIT, who let him in? I mean, it's Skrillex. Yeah, but who let him near SUPACREE? He does what he wants. I heard that. Fuck you, Skrillex. That sounds deep. I guess so. What even happened? Nobody seems to know. Oh. –Except these guys. Who the fuck are you? Where did you come from?! CULT FOLLOWERS Yes–”WHO” Yes–”WHERE” Uh, okay. SUPACREE Fuck this shit. I quit. You can't quit. I just did. Fuck Skrillex. Ah, shit, here it comes. Go ahead, the worst he can do is cough at me and make me homeless. *loud obnoxious coughing* Do your worst. *more loud coughing* Fuckin'. Satan's pet. Satan's not real! Then neither is Skrillex. Amen. (Cult Followers, In unison.) Amen. [SUPACREE exits furiously.] What…the fuck. Pause. Wait, is this marketable? Yes. How? Cause its Skrillex. Skrillex is clickbait. What the FUCK did he do? *COUGHS* I mean, I bet– Fucking–motherfucker. Fuck. Well, now what? Now, nothing. I'mma go get a regular job and see what the industry wants with Jessica. (((Oh, I think you know what they want.))) ((Oh, God Knows)) I thought we weren't doing that bit. We're doing all the bits. MORTY. JESSICA. Oh yeah. Even better. C'esme't sighs heavily, unamused. My liege. Don't be coy with me. I would never. There are hardly any things left you would never do. If not only because I had done them all; But to be coy, with you, my Queen is neither desire or pleasure. You are clever. At your discretion. I began to wonder if I may have looked as miserable as I was, as even though I could not see my own self, walking about in my day-to-day nothingness, the expression protruding from my face felt as if it might look as lifeless as I was beginning to feel, no longer wholly choking back tears but still moving and barely breathing in the awful circumstance of doing and being–I had felt the light itself slowly draining from my eyes, and even things I loved with all my heart could not in any sense brighten this dullness. I felt Godless, and at the very least loveless, lightless, and without my magic, somehow having lost my soul and my singing voice at once. Yes, it was terrible–something was wrong, and I, without becoming the star I had so wanted, was already washing up. Homelessness drained all of what would have been a magnificent energy all together, left to become someone I wasn't sure I even liked, and seemingly cursed, as most recently, no one else seemed to like me either--still, I almost let myself believe something bigger was at play, or perhaps in the works; I had been relocated just perfect walking distance to the gym, where of course rather than look for work which would only urge me closer to suicide than I had been, I elected instead to spend a majority of my time, crafting my days around getting there for the bare minimum of three hours, but ideally closer to 5 or 6, always aiming for 8 and almost-always giving up not because I was too tired, but because I was drenched in sweat, and something like the discomfort of a wet diaper, just wanted to be fresh and dry. God, Help me with this affliction Pick a clip, Flick the bean, And watch Netflix I'm stressin, wet and undressin This sexual tension is serious Salad, with no dressin I'm the lady in the red dress, and yes I write blank checks, so when I go to Heck, I bounce back like, “Yes.” [YES] No pressure, It's my pleasure; I'd rather be in leather than in latex, lathered up Present, or past but honestly, neither matters; Just give this to Marshall Mathers, And a Dad Hat; AMEN Hey Kids, Lets not say “Amen”, After we say hanuss shit, okay? Today, I'm Eminem, so I can finally find Skrillex, And kill him: My mission is to introduce a new religion to humans, called STOP BEING STUPID. Stop Being Skrillex. Well, Alright Then. [Presses Easy Button] “WELL, THAT WAS-- CUT TO: -__- SUPACREE wakes up from a coma; In a very SKRILLEX, Get out. [He just does.] ...Where's Dillon Francis? ...Dillon Is Dead. Dilon Francis Died. He's...left us. ...Nope. Yes, he is. SUPACREE, I'm Sorry. Don't be sorry. Be Dillon Francis. The Coma--You know---must've-- You know. Nope. Where's Pasquale? Who is that? Oh, fuck this. No, wait, stop! STAHP. Bring Skrillex Back. I never left. You're never there. Here, Tres Leches … Dulce De Leche. You know what? What? NO. NO? NO. __ ALRIGHT, WHERE'S DILLON FRANCIS? Who is that? STOP PLAYING GAMES. DILLON FRANCIS is in THE VOID, trying to beat THE LEGEND of SUPACREE. It's a really good game. DILLON FRANCIS (cracked) “It's a really good game!” GAMERS It is, a really good game. So good, in fact, that when SUPACREE herself arrives, S/He pays her almost entirely no mind. Really, Dillon Francis? ... Really, Motherfucker. DILLON FRANCIS I'm The Captain SUPACREE No, I am. (I AM!) She gestures that she is about to unplug the TV DILLON FRANCIS Don't do that. SUPACREE What? I am (I AM) Don't do it again! I told you, it's-- IN Dillon. DILLON Don't FIN. SUPACREE Unplugs the Set. DEADMAU5 FUCK, MAN. FINALLY. SUPACREE Be Less Canadian. JOEL No, I can't DILLON FRANCIS No, He can't-- JESUS No, he can't. [Beat] DILLON IS SHATTERED, as at the last moment (before the determination of the outcome of the battle, it entirely ceases to exist. Moments of silence pass in infinite tension, before DILLON, looking much like an uncomfortable, overheated, skinless (live) chicken, meets a soon to be boiled crab. OH, MY GOD. GAD/SUPACREE/C.C. That's... what they call me. *coughs* -UGLY!- *coughs* *coughs* GOD. GOD No, not you. DILLON FRANCIS ...Oh, My God. GOD What, Dillon Francis? DILLON FRANCIS Are you SUPACREE? GOD I...Am. DILLON FRANCIS Oh My God--I am too! GOD I know this. DILLON FRANCIS Oh My God! GOD Yeah, I know! Woah, he's Fangirling He's fangirling so hard. Well, wouldn't you. Ask me about IT.” (IS/IT) 3 heads are better than one; This is a a game based on truth; The more you ask, the more you know; The more you know about me— The more you know about yourself— The more you know about yourself, the more you know about the world You are the world. Ī ∆ M Ū. Goddammit! You son of a bitch. She won't watch it I bet she will They know I will He knows I am! I am! Oh, there we go—it's on Get off me! Goddammit, Dillon Francis! I hate you. I hate you BACK! GO BACK! GO BACK! GO BACK–WHEN TO THE WYNN!! Right—! Wait—- Not yet— I know the code. Oh she– she knows what the code is. What did I put it in? I get it, I get it, it's— Not now, then! Not then, now! Not— Wait—- DONT! ...then, I die. The DJ VALET AND THE DJ BALLET THE BAMPHERAMPH BALANCING ACT WITH THE CHAMPION OF RAP?!? ...ohhh, wave dash, I get it… Ū Alright. GOD This is the part where you don't sleep. SUPACREE Oh no. GOD You've been ‘Don't Eating' for like, 8 months now. Now it's time to Don't Sleep. SUPACREE Yikes. Û You can bet we'll have it done by the beginning of next semester. GERALD Next semester's set to not even be in a classroom. Ï Even better. Remote binge worthy media. Excerpt From: “Blū and The Cosmic Owl” ... ...Having found the fallen owl, he glances up at the sky, just as another shooting star flies by. In awe, he stands at the giant animal, who pants in a tragically cry in pain. He sorrowfully glances into the bird's giant eye, crying as his tears spill into the trail of blood, a sparkling dark purple river, streaked with the silver streams of moonlit tears and the golden gleam of a lucid dream; her dilated pupils reflect all the cosmos, sparkling through the three round dials; some sound, which has never heard or even fathomed to be made, a vibration ringing as it aligns with his light, which also shines now through his dark brown eyes; He is hypnotized, nearly full of light in a state of trance as he begins to float upward, levitating just slightly--A SUDDEN FLASH OF COSMIC LIGHT, as the wounded bird, morphs into a matching [humanoid] being, abruptly changing the frequency from a hypnotising lull, to an ear-shattering, soul startling and painstaking frequency. As they both hover above the ground-- still in levitation, he quickly looks down worriedly, then back up at the being--now matching in age, as The Princess, a pretty poised and painted warrior, adorned with the royally decadent white and purple trimmed fashion, crystals and gemstones of the galaxies imbedded into her sashes. He's enamoured and intrigued, less terrified than excited; however her eyes, now changing a through colors of neon light, reflect her terrified and painful confusion, having been wounded with the weapon of ‘man'--he falls toward the ground, suddenly, groaning in pain, then turning into a fetal position from which he cowers in fear under her. A tear, which has formed in her eye, nearly falls; she forcefully reabsorbs it back into her eyes, as she calms herself down, lowering gracefully to the ground. She crouches over him, thinking twice quite literally, before angrily kneeling over him, yielding a ball of fire out of one hand, holding him by his shirt with the other--he cowers in fear, now--his awestruck chased away by the apparent power of this being; she quickly throws her fireball at a nearby bush, lighting it as he glares at the sight slightly stupified by the fire light, which he likes. A splash of water drenches him from head to toe, blasting off his pink glasses and shattering playful spry outlook with a very grumpy pout, as he stands up, dripping from head to toe. She stands, one leg crossed over the other, another dream of water floating in her hand; as he stands dripping, she blasts him again, with the intensity of a firehose pushing him back. Taking awhile to get back, she waits, meditating by the bush as a campfire, as he, still dripping approaches. She looks out of one eye, unassumingly continuing to meditate as he approaches the fire, which he sits by, as closely and cautiously on the other side, trying to get dry. She looks at him from the other eye, calmly sighing as she blasts him with the surprise of an almost blow dry, which she provides by colliding her hands stretched outwardly towards him; the heated gust leaves him looking somewhat like a freshly groomed poodle--his dark brown hair to match his sweet and gentle eyes, by which, his glasses having been blasted off a third time, he notices as he pushes up on the bridge of his nose, realizing he's lost them again--before he can even (literally) think to retrieve them, they float, guided by her telekinetic twisting of her index finger. BLŪ ...thank you... Still unable to form words, she just gazes at him from over the firelight, sternly searching perhaps, for the way to create a translation between her native telepathic ways of communication, or any of the alien languages--she is unfamiliar with this, though captioned in (several, actually) alien languages, we, as the audience can perceive any of the dialogue just to be "english". PRINCESS Why would you do that?! BLŪ What?! PRINCESS What you did to me! BLŪ I didn't mean to! PRINCESS Mean to what? BLŪ Shoot you!? I-- PRINCESS Why would you ‘shoot' an Owl!? BLŪ An ‘owl?' I'm sorry! I didn't! PRINCESS Didn't what? LOOK. [She appears, even still, to be wounded.] BLŪ I--I never-- PRINCESS Never what? BLŪ I've never seen an ‘owl' before… PRINCESS So you just--!? BLŪ I'm sorry! PRINCESS What were you attempting to do? BLŪ I don't know! PRINCESS You don't know? BLŪ No! I just-- PRINCESS You? BLŪ I...just… PRINCESS You… BLŪ I… PRINCESS … [She appears to be bleeding through the sheath of her bodice.] BLU ...Are you ok? CYPHER I: ‘The Coffee Run' This is my job, Like this is your job I look at the jaw I want what you want This is my planet we're on This is is my plan, I got lost in it Maybe I'm wrong, but I'm not You just want a nut with a butt I just want a bud-- [Sample, Dillon Francis: Hey Buddy! (The Coffee Run)] --I'm not your buddy. Ah. Look at that car; I'm on a coffee run at McDonald's How much does it cost? A dollar, one— It's like putting gas in my car, I don't wanna I don't wanna I don't wanna Call Jimmy Fallon to borrow a dollar. It's a coffee run A coffee run A coffee run; You cough, I run You like? I'm fun The west was won by everything under the Sun, Run it This--soul. Yes? It is...of light? It is. And? (A concept unbeknownst the the dark and evil underlords of Satan's realm, which has expanded far beyond hell, into the upper reaches of our world, consuming in darkness everything it can.) Something else… What? Something powerful. It is...beyond words. How? That is, yet to be understood. Mmm… ________________ INT. SOMEWHERE IN ALASKA. DAY. [Before the initial collision... ] DEVIL Exited for EDC? Ï Are you serious? DEVIL Is Dillon Francis going to be there? Ï Dillon Francis? DEVIL Yeah. DJ Dillon Francis. Ï Uh. I don't know. And I don't care. DEVIL Why not? This guy is awesome. Ï (rolling eyes) Since when do you listen to EDM? DEVIL I don't. Just Dillon Francis. He's fuckin hilarious. Look at this. VIDEO: NEED YOU, NGHTMRE & DILLON FRANCIS Ï Huh. CUT TO: DILLON FRANCIS arrives through a portal onto Venice beach, just moments before SUPACREE arrives; Where he is ‘kidnapped' into an Egyptian crystal shop. CUT TO SUPACREE What the FUCK! Dillon Francis isn't the answer to anything, even if someone is pointing at him, asking "Who the fuck is that?" HANZEL Wvell that's because ze answer is "DJ Dillon Francis" Ū Exactly. SUPACREE Oh, please. CUT TO: INT. THE GREAT SALTAIR. SALT LAKE CITY, UT. [SŪP∆ is on the lineup; she prepares for her set. She lurks down into the dancefloor, hiding in the risers, looking over the crowd to read the room. As she peers into the corner nearest to the bar, she suddenly stops, tipping down the rims of her glasses and squinting sternly, scanning over the large group...she intensely scopes a tall, and lanky brunette hunched drunkenly in the corner, one sleeve of her I'll fitting oversized jacket hanging off her shoulder unevenly. Even from afar, she looks tequila toasted.] SŪP∆ Yikes. [She looks down at her [watch, which appears to be a early version of the Synesthesia Panel] it is 7:35.] SŪP∆ (CONT'D) Annnnnd--the night is young… [She peers once more into the corner, to see the girl stumbling towards the restroom sloppily, hunched shoulders and struggling to keep her oversized jacket "on", over her high waisted shorts, accompanied by black fishnets and babydoll crop top, stomping in her stupor towards the restroom. She thinks for a moment, then exits downstairs intently. Downstairs, She is greeted by one of the stagehands. They PLUR and hug. ] DIMITRI Heeeeey. Happy Rave Dayyy. SŪP∆ Every day is rave day. DIMITRI I wish. SŪP∆ Wishes come true. DIMITRI Ugh, I wish. SŪP∆ Don't waste a wish on a wish. They all come true. DIMITRI Think so? SŪP∆ Know so. Like--know-know… so…don't wish for stupid shit; you don't know how many wishes you actually get, so just...be...specific. [He is starry eyed, gazing at her in a dreamlike trance.] SŪP∆ (CONT'D) ...like super specific. DIMITRI ...Specific…Wishes… SŪP∆ ‘Rollin'? [DIMITRI nods happily, bouncing to the upbeat bass house music coming from the mainstage.] SŪP∆ Just kicked in? DIMITRI (shaking head in agreement) Yuh. SŪP∆ Water? [She produces a bottled water out of "nowhere" (the void in her energy field which manifests items most needed/useful immediately [DIMITRI takes the water, amazed that she literally pulled it out of nowhere right in front of him; however, his Befuddled expression suggests curiosity that he is "tripping", which he quickly shrugs off, still bouncing happily to the music as he takes a drink (nearly the entire bottle), giving him life. (As he catches his breath, he looks up to see a tricolor of gumstucks fanned before him, his eyes light up.] SŪP∆ Spearmint, peppermint, winter fresh. DIMITRI ...ohhhh shittttt, winter fresh…! [He happily takes a stick, as the DJ loops [live sampling] the word "fresh", and they share a dance breakdown; Dimitri finishes his water and starts on his stick of gum. She produces a trash bag out of thin air, gesturing vanna white style, again as DIMITRI 'checks' himself, clearly unaware of Supa's Powers.] SŪP∆ Trash. [He enters his trash into the bag, after which, it immediately collapses, as it vanishes.] DIMITRI ...what was...what was that. SŪP∆ That...was...trash...magic…bags…brand...bags. ((( ))) (Magic Isn't Real!) SŪP∆ Oh, fuck, right. DILLON FRANCIS(in the next dimension over) DILLON FRANCIS Is. SŪP∆ Uh, Personal Space. DILLON FRANCIS Telepathy wasn't invented for "personal space" SŪP∆ Telepathy wasn't invented at all. DILLON FRANCIS Exactly. It's--Magic. Hence. SŪP∆ This has been previously established. DILLON FRANCIS I'm reinforcing the foundations...established...previously. SŪP∆ Uh, Don't you have half an album to finish? DILLON FRANCIS Uh, Don't you have a rave frozen in an unstable time warp, just so we can have this conversation--? Which, by the way, I'm pretty sure does not comply with aforementioned...reinforced foundations, Previously...established… SŪP∆ So what's the other half of thAt… was it even an album. Is it an EP? DILLON FRANCIS Nice view from the dancefloor, by the way, Jeez--JEEZ! I mean, I guess once you get used to the view from the stage, behind--you know --where the actual DJs...DJ. Behind the decks. In the DJ booth. For the DJ. SŪP∆ ...k… DILLON FRANCIS Which you're not. SŪP∆ Oh, I'm not. DILLON FRANCIS No. You're just...Dillusionally, probably permanently and terminally...not a DJ. SŪP∆ ‘Not a DJ.' DILLON FRANCIS Not a DJ. Right. SŪP∆ Not a DJ...with Magic. DILLON FRANCIS Maybe, mildly, weirdly magic--definitely not a DJ. Ever. SŪP∆ Okay. Not-- DILLON FRANCIS Not ever-- SŪP∆ Oh right, not Ever--s BOTH --a DJ. DILLON FRANCIS I'm glad you finally understand. We so, so appreciate the FANS, though. SŪP∆ BIG fan. BIG Dillon Francis fan. DILLON FRANCIS I know. I have…I'm telepathic. I'm also a DJ. Like, a real DJ. With...fans. AND albums. SŪP∆ So many fans. DILLON FRANCIS And albums. Like, tracks. SŪP∆ Right. Tracks. Got That Track Magic. DILLON FRANCIS Tracks. SŪP∆ I just got that, fan magic. And you know, actual magic. Thanks Dillon Francis-- DILLON FRANCIS DJ Dillon Francis SŪP∆ Right. DJ Dillon Francis. So many fans. DILLON FRANCIS but you're my best fan. SŪP∆ Best Fan! DILLON FRANCIS BEST FAN AWARD. SŪP∆ YEAH. DILLON FRANCIS FAN CAM! SŪP∆ ONE FOR THE FAN GRAM! DILLON FRANCIS THE *BEST* FAN GRAM. SŪP∆ YEAH. [Posing for a selfie, she uses one of her rave weapons (which is, actually just a regular iPhone) spitefully flashes him into a cross parallel dimension, outside of Bampheramph jurisdiction, trapping him in an intractable dimension; the photo created a time warp and intersectable checkpoint in time. She unfreezes the rave.] DIMITRI ...magic…? SŪP∆ Uh--no! ‘magic'. The music is magic, Just trash bags...brand...yeah. DIMITRI trash...brand...bags... SŪP∆ ...yeah... [They continue to dance; she nervously looks over her shoulder for possible alternate versions of DILLON FRANCIS At the end of the break, an immediate change of tone--she readjusts her outfit and hair, collecting herself in a snap--grabbing DIMITRI by his shoulder and pulling him closer, crouching lower into a "gameplay" position.) SŪP∆ (CONT'D) Now, business talk time. DIMITRI Serious face? [She nods adamantly. DIMITRI tries to straighten up, and "get serious, still bouncing along to the beat, adjusting his sunglasses.] CUT TO: EXT. THE OPEN SEAS. DAY [In a nearby dimension, As SKRILLEX and *alt* DILLON FRANCIS continue to battle, they cross paths at sea.] SKRILLEX Nice Dinghy, dude. DILLON FRANCIS It's...not a dinghy. It's a miniature yacht, and you're talking a lot, for someone that's more of a prop, than the dialogue. SKRILLEX Prop. Plot device. Main character. Oh shit dude--I might even star of the show. DILLON FRANCIS She's the star of the show. SKRILLEX Not without me. [A BAMPHERAMPH teleportals onto SKRILLEX'S boat, tagging him, BAMPHERAMPH TAG, YOU'RE IT. [He disappears into another portal.] SKRILLEX I'm it. DILLON FRANCIS Nah, you're just “Skrillex.” SKRILLEX That's--all you need. [A MOTHERFUCKER portals onto SKRILLEX'S boat, via another portal, handing him an *object*] MOTHERFUCKER Humility. You need it. SKRILLEX ...I made the HUMBLE remix. MOTHERFUCKER Yeah you did. [THE MOTHERFUCKER disappears into a portal; SKRILLEX unwraps the object; It is a pie, labeled ‘HUMBLE PIE.'] SKRILLEX Hm. FLASHBACK: BASS DROP, HUMBLE (Skrillex Remix) CUT BACK: As the bass drops, the pie explodes; This leaves him covered in a very fruity mess, and a *bass face* CUT TO: INT. OWSLA HQ. DAY MANAGER I don't think it's good for you, If you do this movie. SONNY/SKRILLEX Movies. It's like a series. Or a saga, oh--god, I don't know. [DILLON FRANCIS shows up, out of nowhere.] DILON FRANCIS Yeah. She is. Like a God, and you're not, man. So you know...I mean… SKRILLEX Actually heh. First of all, you tell me what the price of ‘Everliving Skrillex' is, I'll wait. DILLON FRANCIS My pants are currently selling for 69.99 right now. SKRILLEX My left sock was 69.99 this morning. MANAGER Why are you buying individual socks--??? DILLON FRANCIS Why are you buying socks in the mornings? MANAGER You're up late, how are you even up in the morning?! DILLON FRANCIS Do you ever sleep? Does a Skrillex sleep? MANAGER Who are you again? DILLON FRANCIS I'm Dillon Francis. DJ- Dillon Francis. SKRILLEX Does a Dillon Francis DJ? Or wear proper fitting pants? Or do anything? Anything cool at all? Yeah actually--He pushed Skrillex off a miniature yacht! SKRILLEX ...What? [DILLON FRANCIS portals them back onto the YACHT SCENE.] *alt* SKRILLEX and *alt* DILLON FRANCIS are still fighting; They are now both on the deck of SKRILLEX's boat, DILLON FRANCIS's mini yacht burning/ devastated by what appears to be a giant kraken in the background.] ALT/SKRILLEX FUCK YOUR MINIATURE YACHT. ALT/DILLON FRANCIS You're a miniature yacht! SKRILLEX Is that US?! MANAGER I told you... ALT/SKRILLEX You're not a good villain. Or at anything, really! You're just…'Dillon Francis. ‘ ALT/DILLON FRANCIS And you're just stranded in the ocean. ALT/SKRILLEX It's okay, it's hella refreshing! UNLIKE YOUR MUSIC. ALT/DILLON FRANCIS You know what--? DILLON FRANCIS (to his alternate self) I got this. ALT/SKRILLEX Huh? [DILLON FRANCIS blasts ALT/SKRILLEX into a portal, which whirlpools him into an alternate dimension; SKRILLEX and the MANAGER look on in horror.] ALT/DILLON FRANCIS Oh God, Finally! DILLON FRANCIS Yeah, I know. ALT/DILLON FRANCIS That took FOREVER. [DILLON FRANCIS rolls his eyes and hands his alternate self a small object*.] ALT/ DILLON FRANCIS By the way-- [He opens up another portal, reaching out just to jump into it, exclaiming:] ALT/DILLON FRANCIS (CONT'D) Tag, you're it. [He disappears into the portal.] DILLON FRANCIS OH, GOD DAMMIT. COMEUPOUTDAWAHTA, S U P A C R E E M I X X __________ SKRILLEX Get off my Alien Planet! Don't touch it! It's my alien planet, nobody land on it. DILLON FRANCIS Suhweeet planet… SUPACREE No! Don't land on that planet! [He lands.] SUPACREE God DAMMIT. GOD I can't do that. You know I can't do that. It's a whole planet just--give it time. SUPACREE I gave it spacetime! I am time! GOD I know you are, dear. Just be patient. SUPACREE Be patient? He went and put his DILLON FRANCIS all over it. JESUS Let Dillon Francis play with your planet, yeah? SUPACREE What?? No, can't have it, it's my planet. No. JESUS But he already put his Dillon on it, you know how that goes. SUPACREE I do know how it goes. I wrote it. GOD How does it go? It goes: SUPACREE --No--No--Dillon Francis, go home. /SKRILLEX No planet for Dillon Francis. SUPACREE This isn't Dillon Francis Land, it's closed. And also Not. Your. Planet. Go. Home. GOD That had a lot of heart, hun. SUPACREE And no Dillon Francis. JESUS Actually, it had a lot of that, too. SKRILLEX Aha. SUPACREE --Aha, well it's about to have a lot of not-that, I'm about to knock the not-that-hot-sauce off his-- /SKRILLEX --mini yacht knocking-- SUPACREE --sock-rocking-planet-blocking-motherfacker!!!! RAAGGHHH…!! /SKRILLEX AGHRAHGHHGH!!! JESUS Whew. Did you just eat a McFury? SUPACREE MAYBEITWASAFUCKISDILLONFRANCISDOINGONMYPLANETSANWHICH. SUPACREE + SKRILLEX FUCK DILLON FRANCIS. JESUS sounds like a lot. / Sounds Like A Mouthful. SUPACREE/SKRILLEX It wasn't. Ever. Never. / It's not. (Alternately) _______ DILLON FRANCIS Hey. This is a nice planet. Ū He's gonna be like-- DILLON FRANCIS Like flabbergasted. Ū Past Flabbergasted. Did he see you land? DILLON FRANCIS Yeah. Ū Good. Lol. Did he get the coupon? DILLON FRANCIS --Yes. (Previously) [Dillon Lurks In The Background with the SupaCreepers (binoculars). SKRILLEX finds the coupon.] $-FREE MCFURY. SKRILLEX ...oh, shit. Mm! Yeah-yeah! CUT BACK TO Ū Hehehe. EXT. AN ‘ALIEN' PLANET. SPACE THE SKRILLEX Enters The Atmosphere. THE SKRILLEX 'I AM SKRILLEX' S- Sunnï Blū, Ninja Guru Singer/Songwriter Ū- The Anti-Anti-Hero, the Superhero Persona, Ninja Assassin, and Mothafuckin' Bampheramph P-PEACE (Piece, Piece of the Puzzle, Piece of Pie, etc.) Problemo (Exists when too many plot holes and complexities arrive, also “The Pretender”, who just ignores when crazy shit happens, questions all realities (?) Alt+J- SUPACREE, The DIvine Trinity C- (Copyright Symbol) The Original Cree, Alternately Chak Chel, the ancient spirit guide ‘trapped' inside of the Physical Body to Accompany and Assist through magic, rituals, and energy manipulation through music, time space, and all reality which exists within the fathomable and expanding infinite consciousness. (thought to be ancient, however actually originating from hyper intelligent and extraterrestrial existence in the outer realms. Caricatures (“Characters” Based On Various Entertainment Artists Personas, To Be Played (As themselves) S-Dillon Francis U-Dillon Frances P-Dillon T. Francis A-Dillon Flances C-Dillon Glances R-Dillon France Is E-Fillon Dances E-(Fictional Dillon) Francis/Is Pasquale -DJ Hanzel -DJ Rich As Fuck -Gerald -N(E)RD (Pronounced” NED”) Sonny Moore/Skrillex -Hereby referenced to as SS, there exists “Infinite Skrillex” variably throughout the Multiverse, however, Skrillex himself is (secretly) the singular (and seemingly random apparent “phenomenon”) of his kind. A rare and shiny seemingly shapeshifting sorcerer, the concept and use of “Fictional Skrillex” is separated into a multitude of characters, uses and ambiguities explained throughout the series. *Spoiler*, Tying into the Theme of an Ever Expanding (and alternately, Collapsing/Compressing) Infinite Multidimensional, The Term Skrillex can refer the the Persona, or Person as Himself, but alternately is used as a noun, pronoun, verb, or adjective--even sometimes as a profanity, or to be referred to as a “race”. Sammi B,/LSDream/Brillz -Sam I Am (Festival Trip Alter Ego) -I Am Sam (Festival Trip Second Alter Ego) Pasqualle Rotella A nameless, untranslatable into spoken or written language symbol, to be decided. An Ultra-Omnipitent giant (predominately purple, but emanating all colors of the cosmos) Galaxy of Ultra Concious Light Waves, SoundFrequencies, and Own Planetary Solar System, Boasting Stars which rival our own sun. A brilliant Collection of Space Dust (A relative of “Fart”, from Rick and Morty) Evil Pasquale Pasqualle Is Dillon Francis Mr. Rager (Underground Pasqualle) A No-Named Burner and Ultimate Raver, whose domain is the kingdom of the underground rave scene--he detests the mainstream, traveling (across time, as an undercover Bampheramph), Wally (Never started Insomniac, Works At Walmart as Greeter. Never Raved.) In a homage to the second back to the future, U has traveled back to 1993 to create a reality where Google and Insomniac, etc. are owned and operated by SupaCree, skewing into an adjacent timeline in the future where her superstardom and rise to fame begins as a child star on Disney Channel, crossing multiple timelines interdimensionally intersected on the Infinite Grid so complex, it begins to create a disastrous series of knots, loops, and voids, tangled now permanently into the fabric of time. Wally is asked to fill in for his coworker in the photography section, where he develops photos from a disposable camera and is enamoured by the dazzling magic of EDC captured on camera. His eyes widen as he glimpses into the photos; it is love at first sight. He makes doubles of the photos, later creating a vision board (used as a totem, easter egg throughout series) Wally's World lol The Ascended Masters The Psychonauts The Bampheramphs (& Mothafuckin' Bampheramphs, Respectively) The Insomniacs (& Pasquallians, a secret sect of magicians, sorcerers and alchemists, seers and mystics carefully selected as keyholders to ‘The Secret Gates', a secret interdimensional transit system hidden beyond VIP (VIP+, VIP++, VIP+++, and VIP (+/-) which actually contains an underground city, a massive classified compound which exists between cross dimensions, allowing for shifts in the timespace continuums and temporary constructs of reality adjust by a mastery of manipulative conception, a complete control of energy--even allowing for such things as matter to appear, disappear, The Toxic Avengers, Traveling across the Multiverse to Avenge the annihilation, assassinations, and massacre of The Infinite Skrillex Cinematic Adventures With The Insimniacs Lol ew. *The Insomniacs DILLON FRANCIS hijacks THE BLACK PARADE. What the fuck is this? I don't know. Is he a pirate? I doubt it. No, those are pirates. Oh, shit, pirates. Yarg. Uh, okay. I didn't want to do this. Nobody asked you! Why are you like this? Stop being a little bitch, Dillon Francis— please, grow some balls. I have balls. Grow bigger balls, then. You're so mean. Shut—thefuck UP. Why are you like this? UGH—! SUNNÏ BLŪ is drinking rum again, disregarding the house arrest anklet entirely. YARG! Sunnï, the police are coming! The police are always coming! UGH!!! THEY TRYNA KEEP A BLACK MAN DOWN! [kicks trash can over] SUNNÏ. YO-HO-HO—-*belches* BITCH Oh, my God. I AM GOD. GOD WORSHIPS ME. I'M A PIRATE. You're about to go to jail. Again! FUCK THESE N*GGAS. [sirens blaring; the paparazzi arrives] Warm up my forearms Before a performance Warning: I got warrants Call florance, my lawyer —bitch, yur below me, I'm the only, Blow me You should owe me — OH, that's hilarious. JACK BLACK THIS IS FUNNY TO YOU?! YES. ITS MOT FUNNY. You look ridiculous. Do you know where I just came from?! Uh. Wednesday afternoon church? No! The 60's! Was it racist? YES. You look racist. This isn't funny! You need to fix this! I need to eat impossible chicken tinders. That sounds gross You look gross! You! Fix this! Where are you going?! Somewhere safe before the acid kicks in! You took acid?! IN THE 60's! Okay, have fun Have fun with your yuck-nuggets PASQUALE Wanna hear some tea? …no. CC! It's me! CARMELLA?! —YES—and no! Why are you Pasquale? Who's “Pasquale?” I met this guy at work! What?! Do you like it?! No! What. Did I not do it right?! No—! I mean—yes- but, Carmella— Huh I never taught you what to do with the other person when you're shape shifting into their body So?! UGH-/! No!! Where's Pasquale?! Who is that!? UGH. —- Hey. You came to winco at 3 AM for some Pringle's and franks red hot sauce *sets milk down* And white milk. It's la

Gerald’s World.
Gerald's World- “Cinematic Adventures”

Gerald’s World.

Play Episode Listen Later Dec 15, 2022 26:28


DIPLO/THOMAS YOU THINK THIS IS A FUCKING GAME?! SUPACREE THAT'S EXACTLY WHAT IT IS. DIPLO/THOMAS MAYBE TO YOU! SUPACREE I AM YOU!!' DIPLO Reveals The Seer's Stone. Oh, SHIT, Dude. Where'd you get that?! What's this story. No, don't go in there. Oh, look, a story— I told you this was going to be a long night. I was knocking back preworkout at 8 PM exactly, far out of sight from Travis Apple but not entirely out of mind, it was a personal feat to walk into the gym anymore, let alone by his desk—my spirit seemed to have other ideas at an occupation than I myself had formerly thought, but I was at clever best being dissociative now as I was ever, something springing from within me to be let loose, and though it could be, I thought my best to tame it. Professor Zimmerman It's you again… It's always me. So it is. I found something peculiar in a playback of last night's stream of the observatory— (But) How peculiar? Peculiar enough that I thought you might actually take interest. Touché. — I am dead. Oh fuck—he's dead too?! How'd he die? Let me guess—a drag race. Good guess, but no. Was it murder? It's always murder. Now, now, what's this? Don't touch it? What is it? —touch it and see. Ewhe. That's what I thought. Ketamine. Ketamine? Ketamine? Damn; are those two still doing drugs? They're alwYs doing drugs. That's semi-believable. Anyway. Was it a heart attack? Bingo! This is a heart attack! GODDAMMIT, YOU TWO—KNOCK IT OFF. Sorry— —sorry, mom. PROFESSOR ZIMMERMAN is looking through a telescope. Professor Zimmerman! What? What do you want? —my name in the history books; particularly and more specifically for discovering a previously unknown planet and it's inhabitant species. Fair. I meant— —professor Zimmerman— What do you want, from me? It's not entirely unrelated, I promise. Don't make promises you can't keep. Why would I do that? I don't know why women do what they do. That's sexist. It's honest. —no, to just—assume that I'm a woman. [an awkward silence; professor Zimmerman looks up from his studies to examine the short, rather stout, and particularly androgynous student before him] Oh, uh— [beat] I'm a woman. [in relief] Oh! —It's okay. Still, [disgruntled sigh] —it was sexist. Ugh! Anyway— 1.00 mile 10:17 Deadmau5, album title goes here I felt horrible for Brandon, who was eagerly giving his all—but by now physical attraction meant far more than too much to me, my sex drive climbing seemingly by the minute, and my own physique shrinking down into an admirable average, if not above average, by American standards—excluding of course, the Californians, by which standard I was still morbidly obsese as ever, and might as well just pair up with the likes of Brandon, who may have been equally gifted, were it not for his massive weight—then, it was also a selection of genetic particularities that my drive seemed to be fed by—and between the overall unremarkable appearance, it was the bad housekeeping and general disability to take the four otherwise well-mannered children into habitable people—not entirely his fault, and my own arrogance, failing to mention that by now I had become estranged from my own offspring, giving myself a self-entitled badge of abandonment. So I might as well be nothing. If not a mother, I thoughttrapped to myself—but I didn't think much of myself, besides being In some sort of hell, encapsulated and in my own body. What about him? No, that's—that's deadmau5. Well, he's a man, isn't he?! I wish you would leave me alone. — This is scary. You can't just—back up like that— This is too much light. It's not “too much” It is “too much” So that's it? … (Cont'd) That's it? Oh, I know this one. This one's so good What's this one? “The Liight Bringers” Are you sure that was it? Something like that. No. Something like that. NO. Ugh. I hate this. I hate him. I hate this. You always say that. I always hate it. That's not true. Look. I'm not looking. [she walks away] So that's it?! The Cosmic Owl soars in overhead; He is old, he is wise, and now—he is tired. HE?! I thought it was a ‘she' This is the other sides THE OTHER SIDE? [EDC .5] OH. Fuck. This is going to take forever to explain. Yeah. Where's Pasquale? Where isn't Pasquale? Touche. I felt about a hundred feet tall standing next to Pasquale Rotella, and though I would never admit or mentioned it aflojdfffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff There he is. —and though I never would admit or mention it aloud, I liked that he was short, overall—as it made him seem less intimidating; I was, after all, rather morbidly afraid of him, as I was of anything at all, for that matter—anything that could or did have the power to make or break me. And he did. I found him. Where was he? Aha. What? I mean, it's a place, but it doesn't have a name, really. Oh really? What place is that? If I knew, I'd tell you. Tell me anyway. No, let him. Where have you been? Again, an outstanding diecotomy; If I could say the words to weave the space and time between us, Then would have, or even, Rather smittenly, I'd sing them With the Melodies I'm making (Like excuses for the work that I'm not doing) Or the worlds I'm still not moving with the winds beneath my wings— The wind beneath my wings. What the fuck is this? I don't know. In the end, we are nowhere Sleepless and still and tight Maybe we shouldn't fall asleep Saving what was left behind Standing outside the chalk outline Beside ourselves in time The only thing I want, is the last thing I need Awake and sleepless as stars shine What the fuck is that? You know what?! Stop asking me! WHATTHEFUCK IS THAT? I STILL DON'T KNOW. Let me see. It's a— Let me see! It's a planet. No… It's a planet, and I'm telling you it's a planet, and it's orbiting a star that's bigger than ours. That's a lot of speculation. That's a good eye— It was annoying but it unwelcome how often I had to stop and write, I knew by now if I didn't write what was in my head right then, it might take such a long time to come back around, even if it was good, that by the time it did, it would be out of context. There was nothing I could do to really save myself, or stop myself—and so I let it happen, and while most people were stopping to text, I was in a way, talking to myself—or even, my highest self. It was too late to find anything good to eat until the next morning, but my appetite had been a ravenous and unstoppable force, swapping out hat should have been a healthy amount of sex with a questionable amount of food. Lest not I forget How deep in love I would be, or How deep in love I was, once, Or will be, once I depart this In the wake of wonder, Dreaming, Slipping not into a silence— There I was, at the end of it, Remembering; Never had I once thought What was just a long lost song Becomes none, Or all of my cut cloth Fuck this nonsense. It's not—nonsense. It's a lot of nonsense. It's definitely a lot of something. — Don't shapeshift into my cat anymore— —don't tell me what to do. Don't do that. It's gross! How is it “gross” It's—my cat! I love cats. Stay away from my cat. DON'T TOUCH THAT CAT. is that a euphemism? NO—just— Lol. It is not possible that meowingtons is still alive. I mean, it's possible, just not probable. — Damn! Fuxk! This is a long ass story! So tell it then. I mean—how?! What is that thing, even?! Ku//Ka Well, that's it. What. I quit. You can't quit. I most certainly can quit. — You're going to risk your entire career on this thesis, My entire career is this thesis. Listen to me. You know I valbue your opinion. Well, then listen— —but I value your scientific contributions more. Just trust me. I don't trust you. Then you don't trust yourself. [she leaves the professor in a hollow silence; he lights a cigarette] I hate that she does that. — We probably shouldn't be using this equipment, guys. What?! Why not?! I don't care. Its—really old. 10 26 I don't care. What the Fuxk is this I think they're coordinates. To fuckin—where?! — WHAT THE FUCK IS WRONG WITH YOU? What the fuck is wrong with you!? Nobody quite knows. You're so clever. You're an idiot! I'm not an idiot. I'm a doctor. You're a fucking idiot. I'm Dr. Idiot. Your entire career It's a job. It's your career It's a profession. But, professor Zimmerman Doctor, Zimmerman, now, technically. You're an idiot. I'm running out of synonyms. I had tenure. — 9h my God, just PLEASE stop writing! But if ibstop writint l, you dont exist. Qcrually, i exist either way. Not 5o me. Ita a conceprtional universe. It you can think of it, it exists somewhere! Oh, damn. Yeah. Like damn damn. And the more you write rigut now, the worse it gets For me? For me! The Evers, Who What When Where Why and How. WOW. I know! I just now mafe that connection. These guys are my favorites. Who are they? Cut to: A young, brown skinned girl points to the top of a bunch of pinnaples, and shouts, My brothers! Her mother, pulls her in another direction, explaining sweetly and softly, No silly girl, those are pinapples! She picks up the girl, who latches on around the womans neck and sets ger head down over her sjoulder, staring at tge pinapples as she is carried away. She stares longingly. __ Sit down. Is there any Chinese left? A fortune cookie. Ah, that's good. I walked in locked in; Pistol cocked, and pointed towards my head You'll only want me when you have no options left, Or when I'm dead “It's clever” They all said An ambitious endevour End this life, and be devoured By the miester and the misters of the hour How about now? (Or–) How about Now, or How about Now, or How about Now? Or, How about now, or How about now, or How about now? Or, How about Now, or How about Now, or How about Now? Now or Never I said “That's clever” or “How about Now” What do you want from me? I lie for a living; A literal drama queen, don't eat turkey on thanksgiving I'm the worthless word for Surface level thinking on this Earth, or Picking hearses with my cursor, Mercenary, Mercury, or Just a Mercer–But not a Mercedes; I'm paid, but I hate paying; Made the game, but I hate playing I remember making hate to be created Just for entertainment– A belated invitation, Now i'll face it, Back to Basic– But she's laced with Masonry; A tastemaker, maybe But she just wants a family, Whatever that means Wow. How about now? Fuck this. Homelssness. I woul rather kill myself than stay alive I'd rather die than fight Don't want to write this: I'm just a diamond pressurized And i might never see the light I'll never see the lght I see the light There's no honor in suicide But i've devided my mind a million times And now like dynamite in a mine; Collapsed, collided, ad defined by All divine; You'll never see me shine, But deep inside I'd blind you; Guided by the tide, I've come to find you Down, I dive I'm not alive, you know I'm always misaligned But that's beside the point Another suicide attempt Is in the midst– But just what is it; More than just one, is it? Rather die than listen to Skrillex Or take pills just to chill with it For real? this shit again? It wasn't real, all to begin with It's only mental illness cause i'm penniless Now i've got so much to deal with Another wound to heal, Another deal, perhaps I'll make another million in a year, If i'm still here– And i”m still here– And i'm still– Who are you now, and— Who were you then; And— Which part of this, would you want— Or did want, Or just wanted Pondered before in a vision, Outfitted in hooded drapery, The heaviest fabric; A rosary hung from his neck But can't recall the connection In this ressurection I can recall him, But never remember The calling Let's call him Oh, fuck man. ‘Friar Tuck' THAT WAS IT. The high priest of asencion, Was burned in her memory— Not as a friend, But a friend of the enemy; Who she loved and protected, Despite all the envy, She felt for Persephone— Just an unjust figure, A fictional figment of imagination But— Who was I then And who am I now; And what part of him, Would I want, if I wanted Or wished for, Or honored A friend, long forgotten Not a high priest, But a Friar That was it— But before, As Mary, Joseph, and Jesus On the front lines of the war, Not to be started, but ended, as in Preparation, a blood sacrifice I've prepared In a premonition that I'd Give my whole heart again Honest, And honestly slain in the eyes, Of a man I remember, But didn't, when it mattered— Then did, right in front of him Who are we now, and— Who were we then; Let's find out, As time's running out again “Yes, I know him.” She sighed, eyeing from over the rims of the glasses she purchased only earlier to assure she had hidden the tears that she cried for Him— Neither a friend or an enemy, rather The ghost of a shadow she hadn't yet met with again, since he entered her presence Shifting into a tent Now, ripped from the pages of a book she cherished, A page which she promised to never diminish or tarnish would go up in ashes, As totems would fall, Wishes would become granted The PyRAmiD Spell (For Pasquale Rotella) gave gave the man honorary doctorate, and then reneged it, nigga thought he was actually bigger than big sister sick spitter, rip n dip listening to anything but Skrillex that shit is for kids ‘Check it' I hate midi gimmie a synth, something gritty, I'll make it pretty Come and try to get me, I been dead for centuries, Unsolved like a mystery This image don't mean shit to me, I sit to think, I wait to speak, I leak some information on the interwebs just to see how fast it comes back to me I'm actually a master “Untitled 07” It's like a 24/7 job, can't get no rest in, At best you're looking like a slob I kamikaze ‘em all, I am your mom, I will tell you what you are, to me By now, you should know, or see Just a name on my computer screen A friendly neighbor on Easy Street A wish, A lucid dream, A misalignment, so its seems So let me tell you what you are to me: Just make believe (Just make believe) Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream I'll tell you what I've seen, and what I see (and What I see) I dare to dream (I dare to dream) But please believe me, I'm as evil as can be Don't let my anything deceive you I'm a fleeting, bleeding Beaten bride to be No, don't believe me I'm the fire and gnashing teeth they preached to you May everything I've written one day reach you And beseech you, Just like you did to me Now let me tell you what I see; Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream When I wash up on the beach, From blazing fires of burning seas, Let me sing you all to sleep For every tear I often weep To dream of you A lucid dream Just fucking make believe; And I can make believe we fucked Just so I can get to sleep (Are you proud of me?) Hey. (Sarcastically) Oh, Come In. (Sighs heavily) I fucked up. I'm not surprised. I'm not surprised. Don't copy me. I need help. No arguments there. Dude, I'm serious. __ So first of all oh God, now what– I'm not racist You're extremely racist Racist By Proxy I'm not Racist They do look alike. Check this out: WOAH. That's…not a coincidence. That's definitely not a coincidence. Fuck. This. Shit. Here, take this. So, you dropped this totem… Uh-huh. In the ocean. Yes I did. And that one Ooof. What about– That came off on the moped. How? When I came off the moped. So you admit it. SO! He only let me ride it cause he wanted to ride ME! Nice. Did you sing to him? Uh, I sang for him? What's the difference? Here's every song I've ever written about X.X Just kill yourself. Should I then? I mean, perHAPS. I mean, maaaayyyybeee. You know what? I do know. Fuckthisshit. Fuck it, then. I'm out. I quit. Go find SupaCree. This…is impossible. Nothing is impossible. Except for that. Oh. “Oh.” No, i'm serious. You look serious–I'm just saying. What is this? Don't touch that– What is it? It's– [a tiny explosion] –ugh. Volatile. What the fuck are you into? I told you. You said “music.” What is “Music” [very deep pondering] I hate you. We have to find her. You have to. What! You're not going to help us? I have other things to do. Like what, dude? Like what, broh. Feed My cat; Your cat died. Walk my dog– You don't have a dog. I'm getting one. Oh, Jesus Christ Don't get all religious on me, now, not after that. Not after what? Yeah, which thing? ___ Man. Get me out of here. [shrugs] I hate being stuck in your head. What is THIS. Uh. play dead. What's up with your dog. Ruff. Good boy. I'm a girl. Uhhh–good girl. Wait. Hm. Did that dog just– [???] Nevermind. I've been up for 6 days straight. Tour life, buddy. Ah-huh. Uhh. Can I take a shower in your– Take a sho–? [dog grumphs] Uh, yeah, sure. Thanks. *Shapeshifts* Wow, that's cool. It's so stupid. I came in late to the office, so to speak; it had been an off day, after an off night, plagued by what I was sure to be some sort of demonic magic—I was moving slowly, off beat, and irritated—nevermind the lack of energy, as I moved about as steadily as I could—making arrangements for the next trials to come, as it seemed nearly impossible to move ahead, and yet—somehow, I had been given what seemed like one final chance to survive, or not. I had spent the first part of my day, somehow waking with a gust of light, and ready to take on the tasks at hand—then quickly wiped of anything holy in me by the outrageously disgusting hacking and howling of the seemingly-programmed man-or-something-alike, and into a manic-semi-conscious desperation to piece together what was left of my life—seemingly nothing, but somehow still pieced and patched together by music, the overriding theme being that I would be quickly booted out of any position unsuitable for me; and by now, I was just about unsuitable for everything, besides gym crawling and throwing together pieces of literature unlike any I had before seen, as I was, assuredly beginning to look in every direction for other writers which may have matched my style of the then-present day and age, and to my shagrin had found nearly nothing to gawk about, but at the very least had picked up some novels noteworthy in nature, as they had made me laugh, or somehow otherwise caught my attention. Now in my Arsenal, I had one novel, each respectively written by a woman, a white man, and a black man—every book I had otherwise been drawn to written by black women were, upon cracking to open, too-stereotypically black, or about being a black-girl in some kind of way I knew too much about and had absolutely no interest in reading. I had no idea what caused me to look into a world I had all but shut out of my mind—this someone and something had haunted me for months and even growing into years now, first affectionately, but now growing into an uneasy and painstaking, critical list for something deeper. I hated my ex husband for bringing me to this, and, as I looked at the clock at 5:55 exactly, nearly vomited in disgust at the sprawling obsession I would have to somehow quiet—as there really was no halting the plague of tragic recouping thoughts of Dillon Francis at random—now, daily, for quite some time, even as the automatic writing had nearly stopped entirely; I had become entrapped with daily reminders of things I had written, now welling up with spite and anger, that I had even allowed myself the obsession to begin with—especially after what had happened—or what had not happened—with Sonny, whatever way you wanted to look at it. Now; just left with a burning lust and motion sickness beyond my wildest control upon approaching the matter if it all, nonetheless with peaking curisosity, as he had walked in and out if my dreamscape like a picturesque bandit, even hijacking my own sexuality—now almost didn't want or dream of anything else, and with the un presidented amount of ‘decoys' life had thrown at me—Bruno, the bird speaking man from Belgium with the eyes that burned in striking similarity to Dillon's—and then again with Gabriel, the man who had hired me to DJ in the small cerveceria in Mazunte, who could have been his brother'; a dazzlingly handsome, if not perfect near-replica of Dillon Francis, who, by that point, i couldn't even bear to look at, let alone conjure the spark or touch of romance—even after multiple suggestions that he and his girlfriend had just broken up. I never allowed myself for a moment to believe or think that Dillon—or any of the men I fawned after, for that matter, in reality, a very short list—would ever be settled with the idea of me as a perfect fit; no, I sat in the certain reality that I was cursed, living in the opposite exact of the Allison Wonderland archetype—a woman who I theorized may have been Skrillexed and Dillon Francis'd herself—it seemed to be a pattern of hypnotism I was finally wrapping my head around, and even had learned to respect if not envy: I wanted the codes to create my own version of the worlds I had been spun into—and while I would more than likely never be a light skinned, light eyed beauty Queen; perhaps my own kingdom was meant to be of wit and wealth, rather than vanity. Still, headed back Ibto the desert, I found myself scrolling through open guest lists, excited to take my longtime best friend turned literal goddess club crawling, looking for industry and network connections, if not at least a sex partner that could keep up with my needs, now furiously tearing at me from the inside out—as I scrolled, RSVPing for any acts I hadn't yet seen but had heard of, I found myself trailing off in thought and perhaps looking for something I hadn't realized I would stray into; I knew specifically that Dillon had a residency at the Wynn, and —though I also knew I wouldn't be caught dead at this point anywhere I knew he was, or especially stupid enough to pay for it. Now it was torturous, knowing how regretfully physical my attraction had become—understsnding from my interactions with the aforementioned that I was drawn to Dillon for his features—his eyes, his hair, and everything in his silhouette from his jawline, to his lips and brow drove me absolutely wild—however, I had learned about my very fragile psychiatry from my obsession with Skrillex, or with Sonny—neither of which I wished existed, adding Dillon Francis to the list of fictional characters I pushed further into my imaginary incineration box, where I put everything that not need affect my actual emotions or actions; Dillon Francis, a wealthy and talented, very handsome man—could not exist. I wished more than ever that I wasn't dark skinned, that I wasn't heavy set, that I didn't come with a flaming dumpster full of trauma and baggage that no man wanted or needed, but especially not the wealthy and handsome individuals I had spent very much of the last passing years writing about and fantasizing over, finding it respectably impossible to even have flings or sexual experiences without either of the two most rampant figures of my infatuation crossing into my mind and shrouding me with guilt and shame—and yet, here they were, so out of my element that I continued to agree with myself and the universe that it would be dillusinal to think myself a match for anyone so high-achieving. Nothing I could do or say could shake the fact that despite all my efforts to break through, all it had seemed to do was create a broken down individual, ready for enslavement in the working class just to stay housed—my music aspirations both hanging above me, and somehow fading away into the distance behind me. I hated myself. But more importantly, hated Skrillex and Dillon Francis for living the life I somehow thought I wanted and needed. What is the definitive definition of the word Skrillex? Skrillex: noun...right? What, you don't know? I know! It's...a noun...right? Right. Right--- ---Right! Could also be, an adjective, I guess--i? You guess?! You have to know. I mean--- Coughs ain't shit Skrillex ain't *coughs Satan ain't shit Bitch suck a dick Slit ya wrists On ya pissed off Little ass nigga. A loud, abrupt cough disrupted my focus; I was 5-sets-of-8 out of 8 and just feeling my heart begin to pump, as sweat poured from my temples and my sunglasses steamed “Man, fuck Coughs.” Whoever she was, even if it was just one of my infinite inward selves, this was some satanic shit. Now I hated Skrillex—not that it mattered, and as he was a living legend in computer animated music, or whatever voodoo shit he was responsible for that had sparked an entire uprising of revolutionary artists and producers spanning a generation or more—and I was damned-if-I-did, and damned-if-I-didn't love, like, or listen to him; all of which I did, besides the latter higher love by Whitney Houston, God rest her soul, blared over the gym's loud speakers, as I, more than likely looking just as superficially occupied as any basic broad, scrolling away on Instagram or texting her replicas, jotted down the rest of the thoughts that had nestled themselves in my mind's eye, as the coughing, which had followed me everywhere for nearly four years, beckoned to something—searching for purpose if not means to an end. He had Kayla Lauren, a plastic, streamlined representation of the all-American-deem girl, not to mention a “collective” of other broad women of sorts, probably all inwardly clawing just as I had at one time, for a piece of Sonny's heart, or whatever was left of it, after what I could have only assumed to have been a blood sacrifice of sorts, for his placement atop such a steep pyramid of success. What if, every time someone coughed—someone took a picture? I thought about the millions of hacking imbeciles and inbred, backwards savages who had crowded my ears with the putrid sounds of Satan's show choir, a coughing and excessive hellish representation of how the human race had gone awry; If I had been famous, or on my way to it, I would be burgeoned with photographs, as I had been in Mexico without knowing why or how—people sometimes slinking behind their phones as if to secretly capture a candid photo, I myself, pretending not to be aware of it. Cough cough. Ugh. If every cough represented a fan or something of the sorts taking a picture, I almost reveled in the thought—I would have rather had a million flashing cameras at once than to hear another ingrate hacking up a lung in Satan's honor. I was horrified at whatever Skrillex was, and whatever OWSLA meant, though I broadly showcased the tattoo on my inner-right forearm, opposite of Sonny's—the boy I was sure was murdered by the fame monster itself, as Lady Gaga, though admirable, had blatently called it, or herself, or whatever “we” all were or had been once, or would be, collectively at the beginning-and-end of it all. I had seen broadly into the realms of infinity the night previous, and had settled on one, astonishing fact: all of infinitely combined shared a concéntrical center at which at any point could be accessed. Even typing such a concept, I knew it to be life-altering…if I was even alive. To think, I used to hate deadmau5– I hate deadmau5– You know—after that spat with Skrillex. GO TEAM SKRILLEX!!! SHUT THE FUCK UP!!!! who the fuck is deadmau5, anyway. But here I am, decades later. [skrillex] FUCK THIS NIGGA. I needed something to help offset the damage that was done. [someone coughing loudly] Fuck this coughs bitch! [trying on small clothes] Ohh. [kayla Lauren] [sadness] Aww. [dillon Francis] —well how was I supposed to know he was a— STOP RIGHT THERE! I'm...not moving. Yeah, you're not. Uh, okay? You know why? I didn't ask— You need THIS: What is this. I'll tell you what it is [beat] … Okay—what is it?' ILL TELL YOU WHAT IT IS. — Technically, If I do this every day, I can eat whatever I want— Just eat it. No. But I won't. Well, why not? Too Fat For Skrillex. — [C.C. Arrives in the parking lot to find her car has been vandalized...again.] ...Skrillex did this. On Jimmy Fallon. On Jimmy Fallon. Alright, then, kid—it's your dollar. I'll take “Skrillex Did It” for one dollar. But he's halfway across the world! He can shapeshift! Don't be stupid. What—! He's a shapeshifter, for real. We know! Just don't say it! I saw it. We all have. What the fuck, bro— Where did you come from? I've been here. Haven't we all? That's the spirit. What's a spirit? I'm glad you asked. As SUPACREE walks down the street, a man in the passenger's seat is seen to be the Egyptian God ANUBIS, before shifting back into hidden human form. Which one's that? Anubis, right? Googles 'deities' Oh, there he is: Anubis. Good. What's he want? Whatever it is, that's not what I was looking for. What are you looking for? That dark thing. Which “dark thing”? Flashback: That's inside me?! Flashback to Kite at Bass– UGH! Canyon. That's it. That's what it is. LET ME OUT. It's gonna destroy something. She. She–yes–apparently so. CUT BACK TO Fuck you, Skrillex! Stay over there and be Skrillex with your fucking–models–and you coughs piece of fucking–peice of fucking shit, peice of shit. Oh SHIT, who let him in? I mean, it's Skrillex. Yeah, but who let him near SUPACREE? He does what he wants. I heard that. Fuck you, Skrillex. That sounds deep. I guess so. What even happened? Nobody seems to know. Oh. –Except these guys. Who the fuck are you? Where did you come from?! CULT FOLLOWERS Yes–”WHO” Yes–”WHERE” Uh, okay. SUPACREE Fuck this shit. I quit. You can't quit. I just did. Fuck Skrillex. Ah, shit, here it comes. Go ahead, the worst he can do is cough at me and make me homeless. *loud obnoxious coughing* Do your worst. *more loud coughing* Fuckin'. Satan's pet. Satan's not real! Then neither is Skrillex. Amen. (Cult Followers, In unison.) Amen. [SUPACREE exits furiously.] What…the fuck. Pause. Wait, is this marketable? Yes. How? Cause its Skrillex. Skrillex is clickbait. What the FUCK did he do? *COUGHS* I mean, I bet– Fucking–motherfucker. Fuck. Well, now what? Now, nothing. I'mma go get a regular job and see what the industry wants with Jessica. (((Oh, I think you know what they want.))) ((Oh, God Knows)) I thought we weren't doing that bit. We're doing all the bits. MORTY. JESSICA. Oh yeah. Even better. C'esme't sighs heavily, unamused. My liege. Don't be coy with me. I would never. There are hardly any things left you would never do. If not only because I had done them all; But to be coy, with you, my Queen is neither desire or pleasure. You are clever. At your discretion. I began to wonder if I may have looked as miserable as I was, as even though I could not see my own self, walking about in my day-to-day nothingness, the expression protruding from my face felt as if it might look as lifeless as I was beginning to feel, no longer wholly choking back tears but still moving and barely breathing in the awful circumstance of doing and being–I had felt the light itself slowly draining from my eyes, and even things I loved with all my heart could not in any sense brighten this dullness. I felt Godless, and at the very least loveless, lightless, and without my magic, somehow having lost my soul and my singing voice at once. Yes, it was terrible–something was wrong, and I, without becoming the star I had so wanted, was already washing up. Homelessness drained all of what would have been a magnificent energy all together, left to become someone I wasn't sure I even liked, and seemingly cursed, as most recently, no one else seemed to like me either--still, I almost let myself believe something bigger was at play, or perhaps in the works; I had been relocated just perfect walking distance to the gym, where of course rather than look for work which would only urge me closer to suicide than I had been, I elected instead to spend a majority of my time, crafting my days around getting there for the bare minimum of three hours, but ideally closer to 5 or 6, always aiming for 8 and almost-always giving up not because I was too tired, but because I was drenched in sweat, and something like the discomfort of a wet diaper, just wanted to be fresh and dry. God, Help me with this affliction Pick a clip, Flick the bean, And watch Netflix I'm stressin, wet and undressin This sexual tension is serious Salad, with no dressin I'm the lady in the red dress, and yes I write blank checks, so when I go to Heck, I bounce back like, “Yes.” [YES] No pressure, It's my pleasure; I'd rather be in leather than in latex, lathered up Present, or past but honestly, neither matters; Just give this to Marshall Mathers, And a Dad Hat; AMEN Hey Kids, Lets not say “Amen”, After we say hanuss shit, okay? Today, I'm Eminem, so I can finally find Skrillex, And kill him: My mission is to introduce a new religion to humans, called STOP BEING STUPID. Stop Being Skrillex. Well, Alright Then. [Presses Easy Button] “WELL, THAT WAS-- CUT TO: -__- SUPACREE wakes up from a coma; In a very SKRILLEX, Get out. [He just does.] ...Where's Dillon Francis? ...Dillon Is Dead. Dilon Francis Died. He's...left us. ...Nope. Yes, he is. SUPACREE, I'm Sorry. Don't be sorry. Be Dillon Francis. The Coma--You know---must've-- You know. Nope. Where's Pasquale? Who is that? Oh, fuck this. No, wait, stop! STAHP. Bring Skrillex Back. I never left. You're never there. Here, Tres Leches … Dulce De Leche. You know what? What? NO. NO? NO. __ ALRIGHT, WHERE'S DILLON FRANCIS? Who is that? STOP PLAYING GAMES. DILLON FRANCIS is in THE VOID, trying to beat THE LEGEND of SUPACREE. It's a really good game. DILLON FRANCIS (cracked) “It's a really good game!” GAMERS It is, a really good game. So good, in fact, that when SUPACREE herself arrives, S/He pays her almost entirely no mind. Really, Dillon Francis? ... Really, Motherfucker. DILLON FRANCIS I'm The Captain SUPACREE No, I am. (I AM!) She gestures that she is about to unplug the TV DILLON FRANCIS Don't do that. SUPACREE What? I am (I AM) Don't do it again! I told you, it's-- IN Dillon. DILLON Don't FIN. SUPACREE Unplugs the Set. DEADMAU5 FUCK, MAN. FINALLY. SUPACREE Be Less Canadian. JOEL No, I can't DILLON FRANCIS No, He can't-- JESUS No, he can't. [Beat] DILLON IS SHATTERED, as at the last moment (before the determination of the outcome of the battle, it entirely ceases to exist. Moments of silence pass in infinite tension, before DILLON, looking much like an uncomfortable, overheated, skinless (live) chicken, meets a soon to be boiled crab. OH, MY GOD. GAD/SUPACREE/C.C. That's... what they call me. *coughs* -UGLY!- *coughs* *coughs* GOD. GOD No, not you. DILLON FRANCIS ...Oh, My God. GOD What, Dillon Francis? DILLON FRANCIS Are you SUPACREE? GOD I...Am. DILLON FRANCIS Oh My God--I am too! GOD I know this. DILLON FRANCIS Oh My God! GOD Yeah, I know! Woah, he's Fangirling He's fangirling so hard. Well, wouldn't you. Ask me about IT.” (IS/IT) 3 heads are better than one; This is a a game based on truth; The more you ask, the more you know; The more you know about me— The more you know about yourself— The more you know about yourself, the more you know about the world You are the world. Ī ∆ M Ū. Goddammit! You son of a bitch. She won't watch it I bet she will They know I will He knows I am! I am! Oh, there we go—it's on Get off me! Goddammit, Dillon Francis! I hate you. I hate you BACK! GO BACK! GO BACK! GO BACK–WHEN TO THE WYNN!! Right—! Wait—- Not yet— I know the code. Oh she– she knows what the code is. What did I put it in? I get it, I get it, it's— Not now, then! Not then, now! Not— Wait—- DONT! ...then, I die. The DJ VALET AND THE DJ BALLET THE BAMPHERAMPH BALANCING ACT WITH THE CHAMPION OF RAP?!? ...ohhh, wave dash, I get it… Ū Alright. GOD This is the part where you don't sleep. SUPACREE Oh no. GOD You've been ‘Don't Eating' for like, 8 months now. Now it's time to Don't Sleep. SUPACREE Yikes. Û You can bet we'll have it done by the beginning of next semester. GERALD Next semester's set to not even be in a classroom. Ï Even better. Remote binge worthy media. Excerpt From: “Blū and The Cosmic Owl” ... ...Having found the fallen owl, he glances up at the sky, just as another shooting star flies by. In awe, he stands at the giant animal, who pants in a tragically cry in pain. He sorrowfully glances into the bird's giant eye, crying as his tears spill into the trail of blood, a sparkling dark purple river, streaked with the silver streams of moonlit tears and the golden gleam of a lucid dream; her dilated pupils reflect all the cosmos, sparkling through the three round dials; some sound, which has never heard or even fathomed to be made, a vibration ringing as it aligns with his light, which also shines now through his dark brown eyes; He is hypnotized, nearly full of light in a state of trance as he begins to float upward, levitating just slightly--A SUDDEN FLASH OF COSMIC LIGHT, as the wounded bird, morphs into a matching [humanoid] being, abruptly changing the frequency from a hypnotising lull, to an ear-shattering, soul startling and painstaking frequency. As they both hover above the ground-- still in levitation, he quickly looks down worriedly, then back up at the being--now matching in age, as The Princess, a pretty poised and painted warrior, adorned with the royally decadent white and purple trimmed fashion, crystals and gemstones of the galaxies imbedded into her sashes. He's enamoured and intrigued, less terrified than excited; however her eyes, now changing a through colors of neon light, reflect her terrified and painful confusion, having been wounded with the weapon of ‘man'--he falls toward the ground, suddenly, groaning in pain, then turning into a fetal position from which he cowers in fear under her. A tear, which has formed in her eye, nearly falls; she forcefully reabsorbs it back into her eyes, as she calms herself down, lowering gracefully to the ground. She crouches over him, thinking twice quite literally, before angrily kneeling over him, yielding a ball of fire out of one hand, holding him by his shirt with the other--he cowers in fear, now--his awestruck chased away by the apparent power of this being; she quickly throws her fireball at a nearby bush, lighting it as he glares at the sight slightly stupified by the fire light, which he likes. A splash of water drenches him from head to toe, blasting off his pink glasses and shattering playful spry outlook with a very grumpy pout, as he stands up, dripping from head to toe. She stands, one leg crossed over the other, another dream of water floating in her hand; as he stands dripping, she blasts him again, with the intensity of a firehose pushing him back. Taking awhile to get back, she waits, meditating by the bush as a campfire, as he, still dripping approaches. She looks out of one eye, unassumingly continuing to meditate as he approaches the fire, which he sits by, as closely and cautiously on the other side, trying to get dry. She looks at him from the other eye, calmly sighing as she blasts him with the surprise of an almost blow dry, which she provides by colliding her hands stretched outwardly towards him; the heated gust leaves him looking somewhat like a freshly groomed poodle--his dark brown hair to match his sweet and gentle eyes, by which, his glasses having been blasted off a third time, he notices as he pushes up on the bridge of his nose, realizing he's lost them again--before he can even (literally) think to retrieve them, they float, guided by her telekinetic twisting of her index finger. BLŪ ...thank you... Still unable to form words, she just gazes at him from over the firelight, sternly searching perhaps, for the way to create a translation between her native telepathic ways of communication, or any of the alien languages--she is unfamiliar with this, though captioned in (several, actually) alien languages, we, as the audience can perceive any of the dialogue just to be "english". PRINCESS Why would you do that?! BLŪ What?! PRINCESS What you did to me! BLŪ I didn't mean to! PRINCESS Mean to what? BLŪ Shoot you!? I-- PRINCESS Why would you ‘shoot' an Owl!? BLŪ An ‘owl?' I'm sorry! I didn't! PRINCESS Didn't what? LOOK. [She appears, even still, to be wounded.] BLŪ I--I never-- PRINCESS Never what? BLŪ I've never seen an ‘owl' before… PRINCESS So you just--!? BLŪ I'm sorry! PRINCESS What were you attempting to do? BLŪ I don't know! PRINCESS You don't know? BLŪ No! I just-- PRINCESS You? BLŪ I...just… PRINCESS You… BLŪ I… PRINCESS … [She appears to be bleeding through the sheath of her bodice.] BLU ...Are you ok? CYPHER I: ‘The Coffee Run' This is my job, Like this is your job I look at the jaw I want what you want This is my planet we're on This is is my plan, I got lost in it Maybe I'm wrong, but I'm not You just want a nut with a butt I just want a bud-- [Sample, Dillon Francis: Hey Buddy! (The Coffee Run)] --I'm not your buddy. Ah. Look at that car; I'm on a coffee run at McDonald's How much does it cost? A dollar, one— It's like putting gas in my car, I don't wanna I don't wanna I don't wanna Call Jimmy Fallon to borrow a dollar. It's a coffee run A coffee run A coffee run; You cough, I run You like? I'm fun The west was won by everything under the Sun, Run it This--soul. Yes? It is...of light? It is. And? (A concept unbeknownst the the dark and evil underlords of Satan's realm, which has expanded far beyond hell, into the upper reaches of our world, consuming in darkness everything it can.) Something else… What? Something powerful. It is...beyond words. How? That is, yet to be understood. Mmm… ________________ INT. SOMEWHERE IN ALASKA. DAY. [Before the initial collision... ] DEVIL Exited for EDC? Ï Are you serious? DEVIL Is Dillon Francis going to be there? Ï Dillon Francis? DEVIL Yeah. DJ Dillon Francis. Ï Uh. I don't know. And I don't care. DEVIL Why not? This guy is awesome. Ï (rolling eyes) Since when do you listen to EDM? DEVIL I don't. Just Dillon Francis. He's fuckin hilarious. Look at this. VIDEO: NEED YOU, NGHTMRE & DILLON FRANCIS Ï Huh. CUT TO: DILLON FRANCIS arrives through a portal onto Venice beach, just moments before SUPACREE arrives; Where he is ‘kidnapped' into an Egyptian crystal shop. CUT TO SUPACREE What the FUCK! Dillon Francis isn't the answer to anything, even if someone is pointing at him, asking "Who the fuck is that?" HANZEL Wvell that's because ze answer is "DJ Dillon Francis" Ū Exactly. SUPACREE Oh, please. CUT TO: INT. THE GREAT SALTAIR. SALT LAKE CITY, UT. [SŪP∆ is on the lineup; she prepares for her set. She lurks down into the dancefloor, hiding in the risers, looking over the crowd to read the room. As she peers into the corner nearest to the bar, she suddenly stops, tipping down the rims of her glasses and squinting sternly, scanning over the large group...she intensely scopes a tall, and lanky brunette hunched drunkenly in the corner, one sleeve of her I'll fitting oversized jacket hanging off her shoulder unevenly. Even from afar, she looks tequila toasted.] SŪP∆ Yikes. [She looks down at her [watch, which appears to be a early version of the Synesthesia Panel] it is 7:35.] SŪP∆ (CONT'D) Annnnnd--the night is young… [She peers once more into the corner, to see the girl stumbling towards the restroom sloppily, hunched shoulders and struggling to keep her oversized jacket "on", over her high waisted shorts, accompanied by black fishnets and babydoll crop top, stomping in her stupor towards the restroom. She thinks for a moment, then exits downstairs intently. Downstairs, She is greeted by one of the stagehands. They PLUR and hug. ] DIMITRI Heeeeey. Happy Rave Dayyy. SŪP∆ Every day is rave day. DIMITRI I wish. SŪP∆ Wishes come true. DIMITRI Ugh, I wish. SŪP∆ Don't waste a wish on a wish. They all come true. DIMITRI Think so? SŪP∆ Know so. Like--know-know… so…don't wish for stupid shit; you don't know how many wishes you actually get, so just...be...specific. [He is starry eyed, gazing at her in a dreamlike trance.] SŪP∆ (CONT'D) ...like super specific. DIMITRI ...Specific…Wishes… SŪP∆ ‘Rollin'? [DIMITRI nods happily, bouncing to the upbeat bass house music coming from the mainstage.] SŪP∆ Just kicked in? DIMITRI (shaking head in agreement) Yuh. SŪP∆ Water? [She produces a bottled water out of "nowhere" (the void in her energy field which manifests items most needed/useful immediately [DIMITRI takes the water, amazed that she literally pulled it out of nowhere right in front of him; however, his Befuddled expression suggests curiosity that he is "tripping", which he quickly shrugs off, still bouncing happily to the music as he takes a drink (nearly the entire bottle), giving him life. (As he catches his breath, he looks up to see a tricolor of gumstucks fanned before him, his eyes light up.] SŪP∆ Spearmint, peppermint, winter fresh. DIMITRI ...ohhhh shittttt, winter fresh…! [He happily takes a stick, as the DJ loops [live sampling] the word "fresh", and they share a dance breakdown; Dimitri finishes his water and starts on his stick of gum. She produces a trash bag out of thin air, gesturing vanna white style, again as DIMITRI 'checks' himself, clearly unaware of Supa's Powers.] SŪP∆ Trash. [He enters his trash into the bag, after which, it immediately collapses, as it vanishes.] DIMITRI ...what was...what was that. SŪP∆ That...was...trash...magic…bags…brand...bags. ((( ))) (Magic Isn't Real!) SŪP∆ Oh, fuck, right. DILLON FRANCIS(in the next dimension over) DILLON FRANCIS Is. SŪP∆ Uh, Personal Space. DILLON FRANCIS Telepathy wasn't invented for "personal space" SŪP∆ Telepathy wasn't invented at all. DILLON FRANCIS Exactly. It's--Magic. Hence. SŪP∆ This has been previously established. DILLON FRANCIS I'm reinforcing the foundations...established...previously. SŪP∆ Uh, Don't you have half an album to finish? DILLON FRANCIS Uh, Don't you have a rave frozen in an unstable time warp, just so we can have this conversation--? Which, by the way, I'm pretty sure does not comply with aforementioned...reinforced foundations, Previously...established… SŪP∆ So what's the other half of thAt… was it even an album. Is it an EP? DILLON FRANCIS Nice view from the dancefloor, by the way, Jeez--JEEZ! I mean, I guess once you get used to the view from the stage, behind--you know --where the actual DJs...DJ. Behind the decks. In the DJ booth. For the DJ. SŪP∆ ...k… DILLON FRANCIS Which you're not. SŪP∆ Oh, I'm not. DILLON FRANCIS No. You're just...Dillusionally, probably permanently and terminally...not a DJ. SŪP∆ ‘Not a DJ.' DILLON FRANCIS Not a DJ. Right. SŪP∆ Not a DJ...with Magic. DILLON FRANCIS Maybe, mildly, weirdly magic--definitely not a DJ. Ever. SŪP∆ Okay. Not-- DILLON FRANCIS Not ever-- SŪP∆ Oh right, not Ever--s BOTH --a DJ. DILLON FRANCIS I'm glad you finally understand. We so, so appreciate the FANS, though. SŪP∆ BIG fan. BIG Dillon Francis fan. DILLON FRANCIS I know. I have…I'm telepathic. I'm also a DJ. Like, a real DJ. With...fans. AND albums. SŪP∆ So many fans. DILLON FRANCIS And albums. Like, tracks. SŪP∆ Right. Tracks. Got That Track Magic. DILLON FRANCIS Tracks. SŪP∆ I just got that, fan magic. And you know, actual magic. Thanks Dillon Francis-- DILLON FRANCIS DJ Dillon Francis SŪP∆ Right. DJ Dillon Francis. So many fans. DILLON FRANCIS but you're my best fan. SŪP∆ Best Fan! DILLON FRANCIS BEST FAN AWARD. SŪP∆ YEAH. DILLON FRANCIS FAN CAM! SŪP∆ ONE FOR THE FAN GRAM! DILLON FRANCIS THE *BEST* FAN GRAM. SŪP∆ YEAH. [Posing for a selfie, she uses one of her rave weapons (which is, actually just a regular iPhone) spitefully flashes him into a cross parallel dimension, outside of Bampheramph jurisdiction, trapping him in an intractable dimension; the photo created a time warp and intersectable checkpoint in time. She unfreezes the rave.] DIMITRI ...magic…? SŪP∆ Uh--no! ‘magic'. The music is magic, Just trash bags...brand...yeah. DIMITRI trash...brand...bags... SŪP∆ ...yeah... [They continue to dance; she nervously looks over her shoulder for possible alternate versions of DILLON FRANCIS At the end of the break, an immediate change of tone--she readjusts her outfit and hair, collecting herself in a snap--grabbing DIMITRI by his shoulder and pulling him closer, crouching lower into a "gameplay" position.) SŪP∆ (CONT'D) Now, business talk time. DIMITRI Serious face? [She nods adamantly. DIMITRI tries to straighten up, and "get serious, still bouncing along to the beat, adjusting his sunglasses.] CUT TO: EXT. THE OPEN SEAS. DAY [In a nearby dimension, As SKRILLEX and *alt* DILLON FRANCIS continue to battle, they cross paths at sea.] SKRILLEX Nice Dinghy, dude. DILLON FRANCIS It's...not a dinghy. It's a miniature yacht, and you're talking a lot, for someone that's more of a prop, than the dialogue. SKRILLEX Prop. Plot device. Main character. Oh shit dude--I might even star of the show. DILLON FRANCIS She's the star of the show. SKRILLEX Not without me. [A BAMPHERAMPH teleportals onto SKRILLEX'S boat, tagging him, BAMPHERAMPH TAG, YOU'RE IT. [He disappears into another portal.] SKRILLEX I'm it. DILLON FRANCIS Nah, you're just “Skrillex.” SKRILLEX That's--all you need. [A MOTHERFUCKER portals onto SKRILLEX'S boat, via another portal, handing him an *object*] MOTHERFUCKER Humility. You need it. SKRILLEX ...I made the HUMBLE remix. MOTHERFUCKER Yeah you did. [THE MOTHERFUCKER disappears into a portal; SKRILLEX unwraps the object; It is a pie, labeled ‘HUMBLE PIE.'] SKRILLEX Hm. FLASHBACK: BASS DROP, HUMBLE (Skrillex Remix) CUT BACK: As the bass drops, the pie explodes; This leaves him covered in a very fruity mess, and a *bass face* CUT TO: INT. OWSLA HQ. DAY MANAGER I don't think it's good for you, If you do this movie. SONNY/SKRILLEX Movies. It's like a series. Or a saga, oh--god, I don't know. [DILLON FRANCIS shows up, out of nowhere.] DILON FRANCIS Yeah. She is. Like a God, and you're not, man. So you know...I mean… SKRILLEX Actually heh. First of all, you tell me what the price of ‘Everliving Skrillex' is, I'll wait. DILLON FRANCIS My pants are currently selling for 69.99 right now. SKRILLEX My left sock was 69.99 this morning. MANAGER Why are you buying individual socks--??? DILLON FRANCIS Why are you buying socks in the mornings? MANAGER You're up late, how are you even up in the morning?! DILLON FRANCIS Do you ever sleep? Does a Skrillex sleep? MANAGER Who are you again? DILLON FRANCIS I'm Dillon Francis. DJ- Dillon Francis. SKRILLEX Does a Dillon Francis DJ? Or wear proper fitting pants? Or do anything? Anything cool at all? Yeah actually--He pushed Skrillex off a miniature yacht! SKRILLEX ...What? [DILLON FRANCIS portals them back onto the YACHT SCENE.] *alt* SKRILLEX and *alt* DILLON FRANCIS are still fighting; They are now both on the deck of SKRILLEX's boat, DILLON FRANCIS's mini yacht burning/ devastated by what appears to be a giant kraken in the background.] ALT/SKRILLEX FUCK YOUR MINIATURE YACHT. ALT/DILLON FRANCIS You're a miniature yacht! SKRILLEX Is that US?! MANAGER I told you... ALT/SKRILLEX You're not a good villain. Or at anything, really! You're just…'Dillon Francis. ‘ ALT/DILLON FRANCIS And you're just stranded in the ocean. ALT/SKRILLEX It's okay, it's hella refreshing! UNLIKE YOUR MUSIC. ALT/DILLON FRANCIS You know what--? DILLON FRANCIS (to his alternate self) I got this. ALT/SKRILLEX Huh? [DILLON FRANCIS blasts ALT/SKRILLEX into a portal, which whirlpools him into an alternate dimension; SKRILLEX and the MANAGER look on in horror.] ALT/DILLON FRANCIS Oh God, Finally! DILLON FRANCIS Yeah, I know. ALT/DILLON FRANCIS That took FOREVER. [DILLON FRANCIS rolls his eyes and hands his alternate self a small object*.] ALT/ DILLON FRANCIS By the way-- [He opens up another portal, reaching out just to jump into it, exclaiming:] ALT/DILLON FRANCIS (CONT'D) Tag, you're it. [He disappears into the portal.] DILLON FRANCIS OH, GOD DAMMIT. COMEUPOUTDAWAHTA, S U P A C R E E M I X X __________ SKRILLEX Get off my Alien Planet! Don't touch it! It's my alien planet, nobody land on it. DILLON FRANCIS Suhweeet planet… SUPACREE No! Don't land on that planet! [He lands.] SUPACREE God DAMMIT. GOD I can't do that. You know I can't do that. It's a whole planet just--give it time. SUPACREE I gave it spacetime! I am time! GOD I know you are, dear. Just be patient. SUPACREE Be patient? He went and put his DILLON FRANCIS all over it. JESUS Let Dillon Francis play with your planet, yeah? SUPACREE What?? No, can't have it, it's my planet. No. JESUS But he already put his Dillon on it, you know how that goes. SUPACREE I do know how it goes. I wrote it. GOD How does it go? It goes: SUPACREE --No--No--Dillon Francis, go home. /SKRILLEX No planet for Dillon Francis. SUPACREE This isn't Dillon Francis Land, it's closed. And also Not. Your. Planet. Go. Home. GOD That had a lot of heart, hun. SUPACREE And no Dillon Francis. JESUS Actually, it had a lot of that, too. SKRILLEX Aha. SUPACREE --Aha, well it's about to have a lot of not-that, I'm about to knock the not-that-hot-sauce off his-- /SKRILLEX --mini yacht knocking-- SUPACREE --sock-rocking-planet-blocking-motherfacker!!!! RAAGGHHH…!! /SKRILLEX AGHRAHGHHGH!!! JESUS Whew. Did you just eat a McFury? SUPACREE MAYBEITWASAFUCKISDILLONFRANCISDOINGONMYPLANETSANWHICH. SUPACREE + SKRILLEX FUCK DILLON FRANCIS. JESUS sounds like a lot. / Sounds Like A Mouthful. SUPACREE/SKRILLEX It wasn't. Ever. Never. / It's not. (Alternately) _______ DILLON FRANCIS Hey. This is a nice planet. Ū He's gonna be like-- DILLON FRANCIS Like flabbergasted. Ū Past Flabbergasted. Did he see you land? DILLON FRANCIS Yeah. Ū Good. Lol. Did he get the coupon? DILLON FRANCIS --Yes. (Previously) [Dillon Lurks In The Background with the SupaCreepers (binoculars). SKRILLEX finds the coupon.] $-FREE MCFURY. SKRILLEX ...oh, shit. Mm! Yeah-yeah! CUT BACK TO Ū Hehehe. EXT. AN ‘ALIEN' PLANET. SPACE THE SKRILLEX Enters The Atmosphere. THE SKRILLEX 'I AM SKRILLEX' S- Sunnï Blū, Ninja Guru Singer/Songwriter Ū- The Anti-Anti-Hero, the Superhero Persona, Ninja Assassin, and Mothafuckin' Bampheramph P-PEACE (Piece, Piece of the Puzzle, Piece of Pie, etc.) Problemo (Exists when too many plot holes and complexities arrive, also “The Pretender”, who just ignores when crazy shit happens, questions all realities (?) Alt+J- SUPACREE, The DIvine Trinity C- (Copyright Symbol) The Original Cree, Alternately Chak Chel, the ancient spirit guide ‘trapped' inside of the Physical Body to Accompany and Assist through magic, rituals, and energy manipulation through music, time space, and all reality which exists within the fathomable and expanding infinite consciousness. (thought to be ancient, however actually originating from hyper intelligent and extraterrestrial existence in the outer realms. Caricatures (“Characters” Based On Various Entertainment Artists Personas, To Be Played (As themselves) S-Dillon Francis U-Dillon Frances P-Dillon T. Francis A-Dillon Flances C-Dillon Glances R-Dillon France Is E-Fillon Dances E-(Fictional Dillon) Francis/Is Pasquale -DJ Hanzel -DJ Rich As Fuck -Gerald -N(E)RD (Pronounced” NED”) Sonny Moore/Skrillex -Hereby referenced to as SS, there exists “Infinite Skrillex” variably throughout the Multiverse, however, Skrillex himself is (secretly) the singular (and seemingly random apparent “phenomenon”) of his kind. A rare and shiny seemingly shapeshifting sorcerer, the concept and use of “Fictional Skrillex” is separated into a multitude of characters, uses and ambiguities explained throughout the series. *Spoiler*, Tying into the Theme of an Ever Expanding (and alternately, Collapsing/Compressing) Infinite Multidimensional, The Term Skrillex can refer the the Persona, or Person as Himself, but alternately is used as a noun, pronoun, verb, or adjective--even sometimes as a profanity, or to be referred to as a “race”. Sammi B,/LSDream/Brillz -Sam I Am (Festival Trip Alter Ego) -I Am Sam (Festival Trip Second Alter Ego) Pasqualle Rotella A nameless, untranslatable into spoken or written language symbol, to be decided. An Ultra-Omnipitent giant (predominately purple, but emanating all colors of the cosmos) Galaxy of Ultra Concious Light Waves, SoundFrequencies, and Own Planetary Solar System, Boasting Stars which rival our own sun. A brilliant Collection of Space Dust (A relative of “Fart”, from Rick and Morty) Evil Pasquale Pasqualle Is Dillon Francis Mr. Rager (Underground Pasqualle) A No-Named Burner and Ultimate Raver, whose domain is the kingdom of the underground rave scene--he detests the mainstream, traveling (across time, as an undercover Bampheramph), Wally (Never started Insomniac, Works At Walmart as Greeter. Never Raved.) In a homage to the second back to the future, U has traveled back to 1993 to create a reality where Google and Insomniac, etc. are owned and operated by SupaCree, skewing into an adjacent timeline in the future where her superstardom and rise to fame begins as a child star on Disney Channel, crossing multiple timelines interdimensionally intersected on the Infinite Grid so complex, it begins to create a disastrous series of knots, loops, and voids, tangled now permanently into the fabric of time. Wally is asked to fill in for his coworker in the photography section, where he develops photos from a disposable camera and is enamoured by the dazzling magic of EDC captured on camera. His eyes widen as he glimpses into the photos; it is love at first sight. He makes doubles of the photos, later creating a vision board (used as a totem, easter egg throughout series) Wally's World lol The Ascended Masters The Psychonauts The Bampheramphs (& Mothafuckin' Bampheramphs, Respectively) The Insomniacs (& Pasquallians, a secret sect of magicians, sorcerers and alchemists, seers and mystics carefully selected as keyholders to ‘The Secret Gates', a secret interdimensional transit system hidden beyond VIP (VIP+, VIP++, VIP+++, and VIP (+/-) which actually contains an underground city, a massive classified compound which exists between cross dimensions, allowing for shifts in the timespace continuums and temporary constructs of reality adjust by a mastery of manipulative conception, a complete control of energy--even allowing for such things as matter to appear, disappear, The Toxic Avengers, Traveling across the Multiverse to Avenge the annihilation, assassinations, and massacre of The Infinite Skrillex Cinematic Adventures With The Insimniacs Lol ew. *The Insomniacs DILLON FRANCIS hijacks THE BLACK PARADE. What the fuck is this? I don't know. Is he a pirate? I doubt it. No, those are pirates. Oh, shit, pirates. Yarg. Uh, okay. I didn't want to do this. Nobody asked you! Why are you like this? Stop being a little bitch, Dillon Francis— please, grow some balls. I have balls. Grow bigger balls, then. You're so mean. Shut—thefuck UP. Why are you like this? UGH—! SUNNÏ BLŪ is drinking rum again, disregarding the house arrest anklet entirely. YARG! Sunnï, the police are coming! The police are always coming! UGH!!! THEY TRYNA KEEP A BLACK MAN DOWN! [kicks trash can over] SUNNÏ. YO-HO-HO—-*belches* BITCH Oh, my God. I AM GOD. GOD WORSHIPS ME. I'M A PIRATE. You're about to go to jail. Again! FUCK THESE N*GGAS. [sirens blaring; the paparazzi arrives] Warm up my forearms Before a performance Warning: I got warrants Call florance, my lawyer —bitch, yur below me, I'm the only, Blow me You should owe me — OH, that's hilarious. JACK BLACK THIS IS FUNNY TO YOU?! YES. ITS MOT FUNNY. You look ridiculous. Do you know where I just came from?! Uh. Wednesday afternoon church? No! The 60's! Was it racist? YES. You look racist. This isn't funny! You need to fix this! I need to eat impossible chicken tinders. That sounds gross You look gross! You! Fix this! Where are you going?! Somewhere safe before the acid kicks in! You took acid?! IN THE 60's! Okay, have fun Have fun with your yuck-nuggets PASQUALE Wanna hear some tea? …no. CC! It's me! CARMELLA?! —YES—and no! Why are you Pasquale? Who's “Pasquale?” I met this guy at work! What?! Do you like it?! No! What. Did I not do it right?! No—! I mean—yes- but, Carmella— Huh I never taught you what to do with the other person when you're shape shifting into their body So?! UGH-/! No!! Where's Pasquale?! Who is that!? UGH. —- Hey. You came to winco at 3 AM for some Pringle's and franks red hot sauce *sets milk down* And white milk. It's la

The Infinite Skrillifiles: OWSLA Confidential

DIPLO/THOMAS YOU THINK THIS IS A FUCKING GAME?! SUPACREE THAT'S EXACTLY WHAT IT IS. DIPLO/THOMAS MAYBE TO YOU! SUPACREE I AM YOU!!' DIPLO Reveals The Seer's Stone. Oh, SHIT, Dude. Where'd you get that?! What's this story. No, don't go in there. Oh, look, a story— I told you this was going to be a long night. I was knocking back preworkout at 8 PM exactly, far out of sight from Travis Apple but not entirely out of mind, it was a personal feat to walk into the gym anymore, let alone by his desk—my spirit seemed to have other ideas at an occupation than I myself had formerly thought, but I was at clever best being dissociative now as I was ever, something springing from within me to be let loose, and though it could be, I thought my best to tame it. Professor Zimmerman It's you again… It's always me. So it is. I found something peculiar in a playback of last night's stream of the observatory— (But) How peculiar? Peculiar enough that I thought you might actually take interest. Touché. — I am dead. Oh fuck—he's dead too?! How'd he die? Let me guess—a drag race. Good guess, but no. Was it murder? It's always murder. Now, now, what's this? Don't touch it? What is it? —touch it and see. Ewhe. That's what I thought. Ketamine. Ketamine? Ketamine? Damn; are those two still doing drugs? They're alwYs doing drugs. That's semi-believable. Anyway. Was it a heart attack? Bingo! This is a heart attack! GODDAMMIT, YOU TWO—KNOCK IT OFF. Sorry— —sorry, mom. PROFESSOR ZIMMERMAN is looking through a telescope. Professor Zimmerman! What? What do you want? —my name in the history books; particularly and more specifically for discovering a previously unknown planet and it's inhabitant species. Fair. I meant— —professor Zimmerman— What do you want, from me? It's not entirely unrelated, I promise. Don't make promises you can't keep. Why would I do that? I don't know why women do what they do. That's sexist. It's honest. —no, to just—assume that I'm a woman. [an awkward silence; professor Zimmerman looks up from his studies to examine the short, rather stout, and particularly androgynous student before him] Oh, uh— [beat] I'm a woman. [in relief] Oh! —It's okay. Still, [disgruntled sigh] —it was sexist. Ugh! Anyway— 1.00 mile 10:17 Deadmau5, album title goes here I felt horrible for Brandon, who was eagerly giving his all—but by now physical attraction meant far more than too much to me, my sex drive climbing seemingly by the minute, and my own physique shrinking down into an admirable average, if not above average, by American standards—excluding of course, the Californians, by which standard I was still morbidly obsese as ever, and might as well just pair up with the likes of Brandon, who may have been equally gifted, were it not for his massive weight—then, it was also a selection of genetic particularities that my drive seemed to be fed by—and between the overall unremarkable appearance, it was the bad housekeeping and general disability to take the four otherwise well-mannered children into habitable people—not entirely his fault, and my own arrogance, failing to mention that by now I had become estranged from my own offspring, giving myself a self-entitled badge of abandonment. So I might as well be nothing. If not a mother, I thoughttrapped to myself—but I didn't think much of myself, besides being In some sort of hell, encapsulated and in my own body. What about him? No, that's—that's deadmau5. Well, he's a man, isn't he?! I wish you would leave me alone. — This is scary. You can't just—back up like that— This is too much light. It's not “too much” It is “too much” So that's it? … (Cont'd) That's it? Oh, I know this one. This one's so good What's this one? “The Liight Bringers” Are you sure that was it? Something like that. No. Something like that. NO. Ugh. I hate this. I hate him. I hate this. You always say that. I always hate it. That's not true. Look. I'm not looking. [she walks away] So that's it?! The Cosmic Owl soars in overhead; He is old, he is wise, and now—he is tired. HE?! I thought it was a ‘she' This is the other sides THE OTHER SIDE? [EDC .5] OH. Fuck. This is going to take forever to explain. Yeah. Where's Pasquale? Where isn't Pasquale? Touche. I felt about a hundred feet tall standing next to Pasquale Rotella, and though I would never admit or mentioned it aflojdfffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff There he is. —and though I never would admit or mention it aloud, I liked that he was short, overall—as it made him seem less intimidating; I was, after all, rather morbidly afraid of him, as I was of anything at all, for that matter—anything that could or did have the power to make or break me. And he did. I found him. Where was he? Aha. What? I mean, it's a place, but it doesn't have a name, really. Oh really? What place is that? If I knew, I'd tell you. Tell me anyway. No, let him. Where have you been? Again, an outstanding diecotomy; If I could say the words to weave the space and time between us, Then would have, or even, Rather smittenly, I'd sing them With the Melodies I'm making (Like excuses for the work that I'm not doing) Or the worlds I'm still not moving with the winds beneath my wings— The wind beneath my wings. What the fuck is this? I don't know. In the end, we are nowhere Sleepless and still and tight Maybe we shouldn't fall asleep Saving what was left behind Standing outside the chalk outline Beside ourselves in time The only thing I want, is the last thing I need Awake and sleepless as stars shine What the fuck is that? You know what?! Stop asking me! WHATTHEFUCK IS THAT? I STILL DON'T KNOW. Let me see. It's a— Let me see! It's a planet. No… It's a planet, and I'm telling you it's a planet, and it's orbiting a star that's bigger than ours. That's a lot of speculation. That's a good eye— It was annoying but it unwelcome how often I had to stop and write, I knew by now if I didn't write what was in my head right then, it might take such a long time to come back around, even if it was good, that by the time it did, it would be out of context. There was nothing I could do to really save myself, or stop myself—and so I let it happen, and while most people were stopping to text, I was in a way, talking to myself—or even, my highest self. It was too late to find anything good to eat until the next morning, but my appetite had been a ravenous and unstoppable force, swapping out hat should have been a healthy amount of sex with a questionable amount of food. Lest not I forget How deep in love I would be, or How deep in love I was, once, Or will be, once I depart this In the wake of wonder, Dreaming, Slipping not into a silence— There I was, at the end of it, Remembering; Never had I once thought What was just a long lost song Becomes none, Or all of my cut cloth Fuck this nonsense. It's not—nonsense. It's a lot of nonsense. It's definitely a lot of something. — Don't shapeshift into my cat anymore— —don't tell me what to do. Don't do that. It's gross! How is it “gross” It's—my cat! I love cats. Stay away from my cat. DON'T TOUCH THAT CAT. is that a euphemism? NO—just— Lol. It is not possible that meowingtons is still alive. I mean, it's possible, just not probable. — Damn! Fuxk! This is a long ass story! So tell it then. I mean—how?! What is that thing, even?! Ku//Ka Well, that's it. What. I quit. You can't quit. I most certainly can quit. — You're going to risk your entire career on this thesis, My entire career is this thesis. Listen to me. You know I valbue your opinion. Well, then listen— —but I value your scientific contributions more. Just trust me. I don't trust you. Then you don't trust yourself. [she leaves the professor in a hollow silence; he lights a cigarette] I hate that she does that. — We probably shouldn't be using this equipment, guys. What?! Why not?! I don't care. Its—really old. 10 26 I don't care. What the Fuxk is this I think they're coordinates. To fuckin—where?! — WHAT THE FUCK IS WRONG WITH YOU? What the fuck is wrong with you!? Nobody quite knows. You're so clever. You're an idiot! I'm not an idiot. I'm a doctor. You're a fucking idiot. I'm Dr. Idiot. Your entire career It's a job. It's your career It's a profession. But, professor Zimmerman Doctor, Zimmerman, now, technically. You're an idiot. I'm running out of synonyms. I had tenure. — 9h my God, just PLEASE stop writing! But if ibstop writint l, you dont exist. Qcrually, i exist either way. Not 5o me. Ita a conceprtional universe. It you can think of it, it exists somewhere! Oh, damn. Yeah. Like damn damn. And the more you write rigut now, the worse it gets For me? For me! The Evers, Who What When Where Why and How. WOW. I know! I just now mafe that connection. These guys are my favorites. Who are they? Cut to: A young, brown skinned girl points to the top of a bunch of pinnaples, and shouts, My brothers! Her mother, pulls her in another direction, explaining sweetly and softly, No silly girl, those are pinapples! She picks up the girl, who latches on around the womans neck and sets ger head down over her sjoulder, staring at tge pinapples as she is carried away. She stares longingly. __ Sit down. Is there any Chinese left? A fortune cookie. Ah, that's good. I walked in locked in; Pistol cocked, and pointed towards my head You'll only want me when you have no options left, Or when I'm dead “It's clever” They all said An ambitious endevour End this life, and be devoured By the miester and the misters of the hour How about now? (Or–) How about Now, or How about Now, or How about Now? Or, How about now, or How about now, or How about now? Or, How about Now, or How about Now, or How about Now? Now or Never I said “That's clever” or “How about Now” What do you want from me? I lie for a living; A literal drama queen, don't eat turkey on thanksgiving I'm the worthless word for Surface level thinking on this Earth, or Picking hearses with my cursor, Mercenary, Mercury, or Just a Mercer–But not a Mercedes; I'm paid, but I hate paying; Made the game, but I hate playing I remember making hate to be created Just for entertainment– A belated invitation, Now i'll face it, Back to Basic– But she's laced with Masonry; A tastemaker, maybe But she just wants a family, Whatever that means Wow. How about now? Fuck this. Homelssness. I woul rather kill myself than stay alive I'd rather die than fight Don't want to write this: I'm just a diamond pressurized And i might never see the light I'll never see the lght I see the light There's no honor in suicide But i've devided my mind a million times And now like dynamite in a mine; Collapsed, collided, ad defined by All divine; You'll never see me shine, But deep inside I'd blind you; Guided by the tide, I've come to find you Down, I dive I'm not alive, you know I'm always misaligned But that's beside the point Another suicide attempt Is in the midst– But just what is it; More than just one, is it? Rather die than listen to Skrillex Or take pills just to chill with it For real? this shit again? It wasn't real, all to begin with It's only mental illness cause i'm penniless Now i've got so much to deal with Another wound to heal, Another deal, perhaps I'll make another million in a year, If i'm still here– And i”m still here– And i'm still– Who are you now, and— Who were you then; And— Which part of this, would you want— Or did want, Or just wanted Pondered before in a vision, Outfitted in hooded drapery, The heaviest fabric; A rosary hung from his neck But can't recall the connection In this ressurection I can recall him, But never remember The calling Let's call him Oh, fuck man. ‘Friar Tuck' THAT WAS IT. The high priest of asencion, Was burned in her memory— Not as a friend, But a friend of the enemy; Who she loved and protected, Despite all the envy, She felt for Persephone— Just an unjust figure, A fictional figment of imagination But— Who was I then And who am I now; And what part of him, Would I want, if I wanted Or wished for, Or honored A friend, long forgotten Not a high priest, But a Friar That was it— But before, As Mary, Joseph, and Jesus On the front lines of the war, Not to be started, but ended, as in Preparation, a blood sacrifice I've prepared In a premonition that I'd Give my whole heart again Honest, And honestly slain in the eyes, Of a man I remember, But didn't, when it mattered— Then did, right in front of him Who are we now, and— Who were we then; Let's find out, As time's running out again “Yes, I know him.” She sighed, eyeing from over the rims of the glasses she purchased only earlier to assure she had hidden the tears that she cried for Him— Neither a friend or an enemy, rather The ghost of a shadow she hadn't yet met with again, since he entered her presence Shifting into a tent Now, ripped from the pages of a book she cherished, A page which she promised to never diminish or tarnish would go up in ashes, As totems would fall, Wishes would become granted The PyRAmiD Spell (For Pasquale Rotella) gave gave the man honorary doctorate, and then reneged it, nigga thought he was actually bigger than big sister sick spitter, rip n dip listening to anything but Skrillex that shit is for kids ‘Check it' I hate midi gimmie a synth, something gritty, I'll make it pretty Come and try to get me, I been dead for centuries, Unsolved like a mystery This image don't mean shit to me, I sit to think, I wait to speak, I leak some information on the interwebs just to see how fast it comes back to me I'm actually a master “Untitled 07” It's like a 24/7 job, can't get no rest in, At best you're looking like a slob I kamikaze ‘em all, I am your mom, I will tell you what you are, to me By now, you should know, or see Just a name on my computer screen A friendly neighbor on Easy Street A wish, A lucid dream, A misalignment, so its seems So let me tell you what you are to me: Just make believe (Just make believe) Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream I'll tell you what I've seen, and what I see (and What I see) I dare to dream (I dare to dream) But please believe me, I'm as evil as can be Don't let my anything deceive you I'm a fleeting, bleeding Beaten bride to be No, don't believe me I'm the fire and gnashing teeth they preached to you May everything I've written one day reach you And beseech you, Just like you did to me Now let me tell you what I see; Just make believe (Just make believe) It may be evil (Make believe) Just make believe (Just make believe) A lucid dream When I wash up on the beach, From blazing fires of burning seas, Let me sing you all to sleep For every tear I often weep To dream of you A lucid dream Just fucking make believe; And I can make believe we fucked Just so I can get to sleep (Are you proud of me?) Hey. (Sarcastically) Oh, Come In. (Sighs heavily) I fucked up. I'm not surprised. I'm not surprised. Don't copy me. I need help. No arguments there. Dude, I'm serious. __ So first of all oh God, now what– I'm not racist You're extremely racist Racist By Proxy I'm not Racist They do look alike. Check this out: WOAH. That's…not a coincidence. That's definitely not a coincidence. Fuck. This. Shit. Here, take this. So, you dropped this totem… Uh-huh. In the ocean. Yes I did. And that one Ooof. What about– That came off on the moped. How? When I came off the moped. So you admit it. SO! He only let me ride it cause he wanted to ride ME! Nice. Did you sing to him? Uh, I sang for him? What's the difference? Here's every song I've ever written about X.X Just kill yourself. Should I then? I mean, perHAPS. I mean, maaaayyyybeee. You know what? I do know. Fuckthisshit. Fuck it, then. I'm out. I quit. Go find SupaCree. This…is impossible. Nothing is impossible. Except for that. Oh. “Oh.” No, i'm serious. You look serious–I'm just saying. What is this? Don't touch that– What is it? It's– [a tiny explosion] –ugh. Volatile. What the fuck are you into? I told you. You said “music.” What is “Music” [very deep pondering] I hate you. We have to find her. You have to. What! You're not going to help us? I have other things to do. Like what, dude? Like what, broh. Feed My cat; Your cat died. Walk my dog– You don't have a dog. I'm getting one. Oh, Jesus Christ Don't get all religious on me, now, not after that. Not after what? Yeah, which thing? ___ Man. Get me out of here. [shrugs] I hate being stuck in your head. What is THIS. Uh. play dead. What's up with your dog. Ruff. Good boy. I'm a girl. Uhhh–good girl. Wait. Hm. Did that dog just– [???] Nevermind. I've been up for 6 days straight. Tour life, buddy. Ah-huh. Uhh. Can I take a shower in your– Take a sho–? [dog grumphs] Uh, yeah, sure. Thanks. *Shapeshifts* Wow, that's cool. It's so stupid. I came in late to the office, so to speak; it had been an off day, after an off night, plagued by what I was sure to be some sort of demonic magic—I was moving slowly, off beat, and irritated—nevermind the lack of energy, as I moved about as steadily as I could—making arrangements for the next trials to come, as it seemed nearly impossible to move ahead, and yet—somehow, I had been given what seemed like one final chance to survive, or not. I had spent the first part of my day, somehow waking with a gust of light, and ready to take on the tasks at hand—then quickly wiped of anything holy in me by the outrageously disgusting hacking and howling of the seemingly-programmed man-or-something-alike, and into a manic-semi-conscious desperation to piece together what was left of my life—seemingly nothing, but somehow still pieced and patched together by music, the overriding theme being that I would be quickly booted out of any position unsuitable for me; and by now, I was just about unsuitable for everything, besides gym crawling and throwing together pieces of literature unlike any I had before seen, as I was, assuredly beginning to look in every direction for other writers which may have matched my style of the then-present day and age, and to my shagrin had found nearly nothing to gawk about, but at the very least had picked up some novels noteworthy in nature, as they had made me laugh, or somehow otherwise caught my attention. Now in my Arsenal, I had one novel, each respectively written by a woman, a white man, and a black man—every book I had otherwise been drawn to written by black women were, upon cracking to open, too-stereotypically black, or about being a black-girl in some kind of way I knew too much about and had absolutely no interest in reading. I had no idea what caused me to look into a world I had all but shut out of my mind—this someone and something had haunted me for months and even growing into years now, first affectionately, but now growing into an uneasy and painstaking, critical list for something deeper. I hated my ex husband for bringing me to this, and, as I looked at the clock at 5:55 exactly, nearly vomited in disgust at the sprawling obsession I would have to somehow quiet—as there really was no halting the plague of tragic recouping thoughts of Dillon Francis at random—now, daily, for quite some time, even as the automatic writing had nearly stopped entirely; I had become entrapped with daily reminders of things I had written, now welling up with spite and anger, that I had even allowed myself the obsession to begin with—especially after what had happened—or what had not happened—with Sonny, whatever way you wanted to look at it. Now; just left with a burning lust and motion sickness beyond my wildest control upon approaching the matter if it all, nonetheless with peaking curisosity, as he had walked in and out if my dreamscape like a picturesque bandit, even hijacking my own sexuality—now almost didn't want or dream of anything else, and with the un presidented amount of ‘decoys' life had thrown at me—Bruno, the bird speaking man from Belgium with the eyes that burned in striking similarity to Dillon's—and then again with Gabriel, the man who had hired me to DJ in the small cerveceria in Mazunte, who could have been his brother'; a dazzlingly handsome, if not perfect near-replica of Dillon Francis, who, by that point, i couldn't even bear to look at, let alone conjure the spark or touch of romance—even after multiple suggestions that he and his girlfriend had just broken up. I never allowed myself for a moment to believe or think that Dillon—or any of the men I fawned after, for that matter, in reality, a very short list—would ever be settled with the idea of me as a perfect fit; no, I sat in the certain reality that I was cursed, living in the opposite exact of the Allison Wonderland archetype—a woman who I theorized may have been Skrillexed and Dillon Francis'd herself—it seemed to be a pattern of hypnotism I was finally wrapping my head around, and even had learned to respect if not envy: I wanted the codes to create my own version of the worlds I had been spun into—and while I would more than likely never be a light skinned, light eyed beauty Queen; perhaps my own kingdom was meant to be of wit and wealth, rather than vanity. Still, headed back Ibto the desert, I found myself scrolling through open guest lists, excited to take my longtime best friend turned literal goddess club crawling, looking for industry and network connections, if not at least a sex partner that could keep up with my needs, now furiously tearing at me from the inside out—as I scrolled, RSVPing for any acts I hadn't yet seen but had heard of, I found myself trailing off in thought and perhaps looking for something I hadn't realized I would stray into; I knew specifically that Dillon had a residency at the Wynn, and —though I also knew I wouldn't be caught dead at this point anywhere I knew he was, or especially stupid enough to pay for it. Now it was torturous, knowing how regretfully physical my attraction had become—understsnding from my interactions with the aforementioned that I was drawn to Dillon for his features—his eyes, his hair, and everything in his silhouette from his jawline, to his lips and brow drove me absolutely wild—however, I had learned about my very fragile psychiatry from my obsession with Skrillex, or with Sonny—neither of which I wished existed, adding Dillon Francis to the list of fictional characters I pushed further into my imaginary incineration box, where I put everything that not need affect my actual emotions or actions; Dillon Francis, a wealthy and talented, very handsome man—could not exist. I wished more than ever that I wasn't dark skinned, that I wasn't heavy set, that I didn't come with a flaming dumpster full of trauma and baggage that no man wanted or needed, but especially not the wealthy and handsome individuals I had spent very much of the last passing years writing about and fantasizing over, finding it respectably impossible to even have flings or sexual experiences without either of the two most rampant figures of my infatuation crossing into my mind and shrouding me with guilt and shame—and yet, here they were, so out of my element that I continued to agree with myself and the universe that it would be dillusinal to think myself a match for anyone so high-achieving. Nothing I could do or say could shake the fact that despite all my efforts to break through, all it had seemed to do was create a broken down individual, ready for enslavement in the working class just to stay housed—my music aspirations both hanging above me, and somehow fading away into the distance behind me. I hated myself. But more importantly, hated Skrillex and Dillon Francis for living the life I somehow thought I wanted and needed. What is the definitive definition of the word Skrillex? Skrillex: noun...right? What, you don't know? I know! It's...a noun...right? Right. Right--- ---Right! Could also be, an adjective, I guess--i? You guess?! You have to know. I mean--- Coughs ain't shit Skrillex ain't *coughs Satan ain't shit Bitch suck a dick Slit ya wrists On ya pissed off Little ass nigga. A loud, abrupt cough disrupted my focus; I was 5-sets-of-8 out of 8 and just feeling my heart begin to pump, as sweat poured from my temples and my sunglasses steamed “Man, fuck Coughs.” Whoever she was, even if it was just one of my infinite inward selves, this was some satanic shit. Now I hated Skrillex—not that it mattered, and as he was a living legend in computer animated music, or whatever voodoo shit he was responsible for that had sparked an entire uprising of revolutionary artists and producers spanning a generation or more—and I was damned-if-I-did, and damned-if-I-didn't love, like, or listen to him; all of which I did, besides the latter higher love by Whitney Houston, God rest her soul, blared over the gym's loud speakers, as I, more than likely looking just as superficially occupied as any basic broad, scrolling away on Instagram or texting her replicas, jotted down the rest of the thoughts that had nestled themselves in my mind's eye, as the coughing, which had followed me everywhere for nearly four years, beckoned to something—searching for purpose if not means to an end. He had Kayla Lauren, a plastic, streamlined representation of the all-American-deem girl, not to mention a “collective” of other broad women of sorts, probably all inwardly clawing just as I had at one time, for a piece of Sonny's heart, or whatever was left of it, after what I could have only assumed to have been a blood sacrifice of sorts, for his placement atop such a steep pyramid of success. What if, every time someone coughed—someone took a picture? I thought about the millions of hacking imbeciles and inbred, backwards savages who had crowded my ears with the putrid sounds of Satan's show choir, a coughing and excessive hellish representation of how the human race had gone awry; If I had been famous, or on my way to it, I would be burgeoned with photographs, as I had been in Mexico without knowing why or how—people sometimes slinking behind their phones as if to secretly capture a candid photo, I myself, pretending not to be aware of it. Cough cough. Ugh. If every cough represented a fan or something of the sorts taking a picture, I almost reveled in the thought—I would have rather had a million flashing cameras at once than to hear another ingrate hacking up a lung in Satan's honor. I was horrified at whatever Skrillex was, and whatever OWSLA meant, though I broadly showcased the tattoo on my inner-right forearm, opposite of Sonny's—the boy I was sure was murdered by the fame monster itself, as Lady Gaga, though admirable, had blatently called it, or herself, or whatever “we” all were or had been once, or would be, collectively at the beginning-and-end of it all. I had seen broadly into the realms of infinity the night previous, and had settled on one, astonishing fact: all of infinitely combined shared a concéntrical center at which at any point could be accessed. Even typing such a concept, I knew it to be life-altering…if I was even alive. To think, I used to hate deadmau5– I hate deadmau5– You know—after that spat with Skrillex. GO TEAM SKRILLEX!!! SHUT THE FUCK UP!!!! who the fuck is deadmau5, anyway. But here I am, decades later. [skrillex] FUCK THIS NIGGA. I needed something to help offset the damage that was done. [someone coughing loudly] Fuck this coughs bitch! [trying on small clothes] Ohh. [kayla Lauren] [sadness] Aww. [dillon Francis] —well how was I supposed to know he was a— STOP RIGHT THERE! I'm...not moving. Yeah, you're not. Uh, okay? You know why? I didn't ask— You need THIS: What is this. I'll tell you what it is [beat] … Okay—what is it?' ILL TELL YOU WHAT IT IS. — Technically, If I do this every day, I can eat whatever I want— Just eat it. No. But I won't. Well, why not? Too Fat For Skrillex. — [C.C. Arrives in the parking lot to find her car has been vandalized...again.] ...Skrillex did this. On Jimmy Fallon. On Jimmy Fallon. Alright, then, kid—it's your dollar. I'll take “Skrillex Did It” for one dollar. But he's halfway across the world! He can shapeshift! Don't be stupid. What—! He's a shapeshifter, for real. We know! Just don't say it! I saw it. We all have. What the fuck, bro— Where did you come from? I've been here. Haven't we all? That's the spirit. What's a spirit? I'm glad you asked. As SUPACREE walks down the street, a man in the passenger's seat is seen to be the Egyptian God ANUBIS, before shifting back into hidden human form. Which one's that? Anubis, right? Googles 'deities' Oh, there he is: Anubis. Good. What's he want? Whatever it is, that's not what I was looking for. What are you looking for? That dark thing. Which “dark thing”? Flashback: That's inside me?! Flashback to Kite at Bass– UGH! Canyon. That's it. That's what it is. LET ME OUT. It's gonna destroy something. She. She–yes–apparently so. CUT BACK TO Fuck you, Skrillex! Stay over there and be Skrillex with your fucking–models–and you coughs piece of fucking–peice of fucking shit, peice of shit. Oh SHIT, who let him in? I mean, it's Skrillex. Yeah, but who let him near SUPACREE? He does what he wants. I heard that. Fuck you, Skrillex. That sounds deep. I guess so. What even happened? Nobody seems to know. Oh. –Except these guys. Who the fuck are you? Where did you come from?! CULT FOLLOWERS Yes–”WHO” Yes–”WHERE” Uh, okay. SUPACREE Fuck this shit. I quit. You can't quit. I just did. Fuck Skrillex. Ah, shit, here it comes. Go ahead, the worst he can do is cough at me and make me homeless. *loud obnoxious coughing* Do your worst. *more loud coughing* Fuckin'. Satan's pet. Satan's not real! Then neither is Skrillex. Amen. (Cult Followers, In unison.) Amen. [SUPACREE exits furiously.] What…the fuck. Pause. Wait, is this marketable? Yes. How? Cause its Skrillex. Skrillex is clickbait. What the FUCK did he do? *COUGHS* I mean, I bet– Fucking–motherfucker. Fuck. Well, now what? Now, nothing. I'mma go get a regular job and see what the industry wants with Jessica. (((Oh, I think you know what they want.))) ((Oh, God Knows)) I thought we weren't doing that bit. We're doing all the bits. MORTY. JESSICA. Oh yeah. Even better. C'esme't sighs heavily, unamused. My liege. Don't be coy with me. I would never. There are hardly any things left you would never do. If not only because I had done them all; But to be coy, with you, my Queen is neither desire or pleasure. You are clever. At your discretion. I began to wonder if I may have looked as miserable as I was, as even though I could not see my own self, walking about in my day-to-day nothingness, the expression protruding from my face felt as if it might look as lifeless as I was beginning to feel, no longer wholly choking back tears but still moving and barely breathing in the awful circumstance of doing and being–I had felt the light itself slowly draining from my eyes, and even things I loved with all my heart could not in any sense brighten this dullness. I felt Godless, and at the very least loveless, lightless, and without my magic, somehow having lost my soul and my singing voice at once. Yes, it was terrible–something was wrong, and I, without becoming the star I had so wanted, was already washing up. Homelessness drained all of what would have been a magnificent energy all together, left to become someone I wasn't sure I even liked, and seemingly cursed, as most recently, no one else seemed to like me either--still, I almost let myself believe something bigger was at play, or perhaps in the works; I had been relocated just perfect walking distance to the gym, where of course rather than look for work which would only urge me closer to suicide than I had been, I elected instead to spend a majority of my time, crafting my days around getting there for the bare minimum of three hours, but ideally closer to 5 or 6, always aiming for 8 and almost-always giving up not because I was too tired, but because I was drenched in sweat, and something like the discomfort of a wet diaper, just wanted to be fresh and dry. God, Help me with this affliction Pick a clip, Flick the bean, And watch Netflix I'm stressin, wet and undressin This sexual tension is serious Salad, with no dressin I'm the lady in the red dress, and yes I write blank checks, so when I go to Heck, I bounce back like, “Yes.” [YES] No pressure, It's my pleasure; I'd rather be in leather than in latex, lathered up Present, or past but honestly, neither matters; Just give this to Marshall Mathers, And a Dad Hat; AMEN Hey Kids, Lets not say “Amen”, After we say hanuss shit, okay? Today, I'm Eminem, so I can finally find Skrillex, And kill him: My mission is to introduce a new religion to humans, called STOP BEING STUPID. Stop Being Skrillex. Well, Alright Then. [Presses Easy Button] “WELL, THAT WAS-- CUT TO: -__- SUPACREE wakes up from a coma; In a very SKRILLEX, Get out. [He just does.] ...Where's Dillon Francis? ...Dillon Is Dead. Dilon Francis Died. He's...left us. ...Nope. Yes, he is. SUPACREE, I'm Sorry. Don't be sorry. Be Dillon Francis. The Coma--You know---must've-- You know. Nope. Where's Pasquale? Who is that? Oh, fuck this. No, wait, stop! STAHP. Bring Skrillex Back. I never left. You're never there. Here, Tres Leches … Dulce De Leche. You know what? What? NO. NO? NO. __ ALRIGHT, WHERE'S DILLON FRANCIS? Who is that? STOP PLAYING GAMES. DILLON FRANCIS is in THE VOID, trying to beat THE LEGEND of SUPACREE. It's a really good game. DILLON FRANCIS (cracked) “It's a really good game!” GAMERS It is, a really good game. So good, in fact, that when SUPACREE herself arrives, S/He pays her almost entirely no mind. Really, Dillon Francis? ... Really, Motherfucker. DILLON FRANCIS I'm The Captain SUPACREE No, I am. (I AM!) She gestures that she is about to unplug the TV DILLON FRANCIS Don't do that. SUPACREE What? I am (I AM) Don't do it again! I told you, it's-- IN Dillon. DILLON Don't FIN. SUPACREE Unplugs the Set. DEADMAU5 FUCK, MAN. FINALLY. SUPACREE Be Less Canadian. JOEL No, I can't DILLON FRANCIS No, He can't-- JESUS No, he can't. [Beat] DILLON IS SHATTERED, as at the last moment (before the determination of the outcome of the battle, it entirely ceases to exist. Moments of silence pass in infinite tension, before DILLON, looking much like an uncomfortable, overheated, skinless (live) chicken, meets a soon to be boiled crab. OH, MY GOD. GAD/SUPACREE/C.C. That's... what they call me. *coughs* -UGLY!- *coughs* *coughs* GOD. GOD No, not you. DILLON FRANCIS ...Oh, My God. GOD What, Dillon Francis? DILLON FRANCIS Are you SUPACREE? GOD I...Am. DILLON FRANCIS Oh My God--I am too! GOD I know this. DILLON FRANCIS Oh My God! GOD Yeah, I know! Woah, he's Fangirling He's fangirling so hard. Well, wouldn't you. Ask me about IT.” (IS/IT) 3 heads are better than one; This is a a game based on truth; The more you ask, the more you know; The more you know about me— The more you know about yourself— The more you know about yourself, the more you know about the world You are the world. Ī ∆ M Ū. Goddammit! You son of a bitch. She won't watch it I bet she will They know I will He knows I am! I am! Oh, there we go—it's on Get off me! Goddammit, Dillon Francis! I hate you. I hate you BACK! GO BACK! GO BACK! GO BACK–WHEN TO THE WYNN!! Right—! Wait—- Not yet— I know the code. Oh she– she knows what the code is. What did I put it in? I get it, I get it, it's— Not now, then! Not then, now! Not— Wait—- DONT! ...then, I die. The DJ VALET AND THE DJ BALLET THE BAMPHERAMPH BALANCING ACT WITH THE CHAMPION OF RAP?!? ...ohhh, wave dash, I get it… Ū Alright. GOD This is the part where you don't sleep. SUPACREE Oh no. GOD You've been ‘Don't Eating' for like, 8 months now. Now it's time to Don't Sleep. SUPACREE Yikes. Û You can bet we'll have it done by the beginning of next semester. GERALD Next semester's set to not even be in a classroom. Ï Even better. Remote binge worthy media. Excerpt From: “Blū and The Cosmic Owl” ... ...Having found the fallen owl, he glances up at the sky, just as another shooting star flies by. In awe, he stands at the giant animal, who pants in a tragically cry in pain. He sorrowfully glances into the bird's giant eye, crying as his tears spill into the trail of blood, a sparkling dark purple river, streaked with the silver streams of moonlit tears and the golden gleam of a lucid dream; her dilated pupils reflect all the cosmos, sparkling through the three round dials; some sound, which has never heard or even fathomed to be made, a vibration ringing as it aligns with his light, which also shines now through his dark brown eyes; He is hypnotized, nearly full of light in a state of trance as he begins to float upward, levitating just slightly--A SUDDEN FLASH OF COSMIC LIGHT, as the wounded bird, morphs into a matching [humanoid] being, abruptly changing the frequency from a hypnotising lull, to an ear-shattering, soul startling and painstaking frequency. As they both hover above the ground-- still in levitation, he quickly looks down worriedly, then back up at the being--now matching in age, as The Princess, a pretty poised and painted warrior, adorned with the royally decadent white and purple trimmed fashion, crystals and gemstones of the galaxies imbedded into her sashes. He's enamoured and intrigued, less terrified than excited; however her eyes, now changing a through colors of neon light, reflect her terrified and painful confusion, having been wounded with the weapon of ‘man'--he falls toward the ground, suddenly, groaning in pain, then turning into a fetal position from which he cowers in fear under her. A tear, which has formed in her eye, nearly falls; she forcefully reabsorbs it back into her eyes, as she calms herself down, lowering gracefully to the ground. She crouches over him, thinking twice quite literally, before angrily kneeling over him, yielding a ball of fire out of one hand, holding him by his shirt with the other--he cowers in fear, now--his awestruck chased away by the apparent power of this being; she quickly throws her fireball at a nearby bush, lighting it as he glares at the sight slightly stupified by the fire light, which he likes. A splash of water drenches him from head to toe, blasting off his pink glasses and shattering playful spry outlook with a very grumpy pout, as he stands up, dripping from head to toe. She stands, one leg crossed over the other, another dream of water floating in her hand; as he stands dripping, she blasts him again, with the intensity of a firehose pushing him back. Taking awhile to get back, she waits, meditating by the bush as a campfire, as he, still dripping approaches. She looks out of one eye, unassumingly continuing to meditate as he approaches the fire, which he sits by, as closely and cautiously on the other side, trying to get dry. She looks at him from the other eye, calmly sighing as she blasts him with the surprise of an almost blow dry, which she provides by colliding her hands stretched outwardly towards him; the heated gust leaves him looking somewhat like a freshly groomed poodle--his dark brown hair to match his sweet and gentle eyes, by which, his glasses having been blasted off a third time, he notices as he pushes up on the bridge of his nose, realizing he's lost them again--before he can even (literally) think to retrieve them, they float, guided by her telekinetic twisting of her index finger. BLŪ ...thank you... Still unable to form words, she just gazes at him from over the firelight, sternly searching perhaps, for the way to create a translation between her native telepathic ways of communication, or any of the alien languages--she is unfamiliar with this, though captioned in (several, actually) alien languages, we, as the audience can perceive any of the dialogue just to be "english". PRINCESS Why would you do that?! BLŪ What?! PRINCESS What you did to me! BLŪ I didn't mean to! PRINCESS Mean to what? BLŪ Shoot you!? I-- PRINCESS Why would you ‘shoot' an Owl!? BLŪ An ‘owl?' I'm sorry! I didn't! PRINCESS Didn't what? LOOK. [She appears, even still, to be wounded.] BLŪ I--I never-- PRINCESS Never what? BLŪ I've never seen an ‘owl' before… PRINCESS So you just--!? BLŪ I'm sorry! PRINCESS What were you attempting to do? BLŪ I don't know! PRINCESS You don't know? BLŪ No! I just-- PRINCESS You? BLŪ I...just… PRINCESS You… BLŪ I… PRINCESS … [She appears to be bleeding through the sheath of her bodice.] BLU ...Are you ok? CYPHER I: ‘The Coffee Run' This is my job, Like this is your job I look at the jaw I want what you want This is my planet we're on This is is my plan, I got lost in it Maybe I'm wrong, but I'm not You just want a nut with a butt I just want a bud-- [Sample, Dillon Francis: Hey Buddy! (The Coffee Run)] --I'm not your buddy. Ah. Look at that car; I'm on a coffee run at McDonald's How much does it cost? A dollar, one— It's like putting gas in my car, I don't wanna I don't wanna I don't wanna Call Jimmy Fallon to borrow a dollar. It's a coffee run A coffee run A coffee run; You cough, I run You like? I'm fun The west was won by everything under the Sun, Run it This--soul. Yes? It is...of light? It is. And? (A concept unbeknownst the the dark and evil underlords of Satan's realm, which has expanded far beyond hell, into the upper reaches of our world, consuming in darkness everything it can.) Something else… What? Something powerful. It is...beyond words. How? That is, yet to be understood. Mmm… ________________ INT. SOMEWHERE IN ALASKA. DAY. [Before the initial collision... ] DEVIL Exited for EDC? Ï Are you serious? DEVIL Is Dillon Francis going to be there? Ï Dillon Francis? DEVIL Yeah. DJ Dillon Francis. Ï Uh. I don't know. And I don't care. DEVIL Why not? This guy is awesome. Ï (rolling eyes) Since when do you listen to EDM? DEVIL I don't. Just Dillon Francis. He's fuckin hilarious. Look at this. VIDEO: NEED YOU, NGHTMRE & DILLON FRANCIS Ï Huh. CUT TO: DILLON FRANCIS arrives through a portal onto Venice beach, just moments before SUPACREE arrives; Where he is ‘kidnapped' into an Egyptian crystal shop. CUT TO SUPACREE What the FUCK! Dillon Francis isn't the answer to anything, even if someone is pointing at him, asking "Who the fuck is that?" HANZEL Wvell that's because ze answer is "DJ Dillon Francis" Ū Exactly. SUPACREE Oh, please. CUT TO: INT. THE GREAT SALTAIR. SALT LAKE CITY, UT. [SŪP∆ is on the lineup; she prepares for her set. She lurks down into the dancefloor, hiding in the risers, looking over the crowd to read the room. As she peers into the corner nearest to the bar, she suddenly stops, tipping down the rims of her glasses and squinting sternly, scanning over the large group...she intensely scopes a tall, and lanky brunette hunched drunkenly in the corner, one sleeve of her I'll fitting oversized jacket hanging off her shoulder unevenly. Even from afar, she looks tequila toasted.] SŪP∆ Yikes. [She looks down at her [watch, which appears to be a early version of the Synesthesia Panel] it is 7:35.] SŪP∆ (CONT'D) Annnnnd--the night is young… [She peers once more into the corner, to see the girl stumbling towards the restroom sloppily, hunched shoulders and struggling to keep her oversized jacket "on", over her high waisted shorts, accompanied by black fishnets and babydoll crop top, stomping in her stupor towards the restroom. She thinks for a moment, then exits downstairs intently. Downstairs, She is greeted by one of the stagehands. They PLUR and hug. ] DIMITRI Heeeeey. Happy Rave Dayyy. SŪP∆ Every day is rave day. DIMITRI I wish. SŪP∆ Wishes come true. DIMITRI Ugh, I wish. SŪP∆ Don't waste a wish on a wish. They all come true. DIMITRI Think so? SŪP∆ Know so. Like--know-know… so…don't wish for stupid shit; you don't know how many wishes you actually get, so just...be...specific. [He is starry eyed, gazing at her in a dreamlike trance.] SŪP∆ (CONT'D) ...like super specific. DIMITRI ...Specific…Wishes… SŪP∆ ‘Rollin'? [DIMITRI nods happily, bouncing to the upbeat bass house music coming from the mainstage.] SŪP∆ Just kicked in? DIMITRI (shaking head in agreement) Yuh. SŪP∆ Water? [She produces a bottled water out of "nowhere" (the void in her energy field which manifests items most needed/useful immediately [DIMITRI takes the water, amazed that she literally pulled it out of nowhere right in front of him; however, his Befuddled expression suggests curiosity that he is "tripping", which he quickly shrugs off, still bouncing happily to the music as he takes a drink (nearly the entire bottle), giving him life. (As he catches his breath, he looks up to see a tricolor of gumstucks fanned before him, his eyes light up.] SŪP∆ Spearmint, peppermint, winter fresh. DIMITRI ...ohhhh shittttt, winter fresh…! [He happily takes a stick, as the DJ loops [live sampling] the word "fresh", and they share a dance breakdown; Dimitri finishes his water and starts on his stick of gum. She produces a trash bag out of thin air, gesturing vanna white style, again as DIMITRI 'checks' himself, clearly unaware of Supa's Powers.] SŪP∆ Trash. [He enters his trash into the bag, after which, it immediately collapses, as it vanishes.] DIMITRI ...what was...what was that. SŪP∆ That...was...trash...magic…bags…brand...bags. ((( ))) (Magic Isn't Real!) SŪP∆ Oh, fuck, right. DILLON FRANCIS(in the next dimension over) DILLON FRANCIS Is. SŪP∆ Uh, Personal Space. DILLON FRANCIS Telepathy wasn't invented for "personal space" SŪP∆ Telepathy wasn't invented at all. DILLON FRANCIS Exactly. It's--Magic. Hence. SŪP∆ This has been previously established. DILLON FRANCIS I'm reinforcing the foundations...established...previously. SŪP∆ Uh, Don't you have half an album to finish? DILLON FRANCIS Uh, Don't you have a rave frozen in an unstable time warp, just so we can have this conversation--? Which, by the way, I'm pretty sure does not comply with aforementioned...reinforced foundations, Previously...established… SŪP∆ So what's the other half of thAt… was it even an album. Is it an EP? DILLON FRANCIS Nice view from the dancefloor, by the way, Jeez--JEEZ! I mean, I guess once you get used to the view from the stage, behind--you know --where the actual DJs...DJ. Behind the decks. In the DJ booth. For the DJ. SŪP∆ ...k… DILLON FRANCIS Which you're not. SŪP∆ Oh, I'm not. DILLON FRANCIS No. You're just...Dillusionally, probably permanently and terminally...not a DJ. SŪP∆ ‘Not a DJ.' DILLON FRANCIS Not a DJ. Right. SŪP∆ Not a DJ...with Magic. DILLON FRANCIS Maybe, mildly, weirdly magic--definitely not a DJ. Ever. SŪP∆ Okay. Not-- DILLON FRANCIS Not ever-- SŪP∆ Oh right, not Ever--s BOTH --a DJ. DILLON FRANCIS I'm glad you finally understand. We so, so appreciate the FANS, though. SŪP∆ BIG fan. BIG Dillon Francis fan. DILLON FRANCIS I know. I have…I'm telepathic. I'm also a DJ. Like, a real DJ. With...fans. AND albums. SŪP∆ So many fans. DILLON FRANCIS And albums. Like, tracks. SŪP∆ Right. Tracks. Got That Track Magic. DILLON FRANCIS Tracks. SŪP∆ I just got that, fan magic. And you know, actual magic. Thanks Dillon Francis-- DILLON FRANCIS DJ Dillon Francis SŪP∆ Right. DJ Dillon Francis. So many fans. DILLON FRANCIS but you're my best fan. SŪP∆ Best Fan! DILLON FRANCIS BEST FAN AWARD. SŪP∆ YEAH. DILLON FRANCIS FAN CAM! SŪP∆ ONE FOR THE FAN GRAM! DILLON FRANCIS THE *BEST* FAN GRAM. SŪP∆ YEAH. [Posing for a selfie, she uses one of her rave weapons (which is, actually just a regular iPhone) spitefully flashes him into a cross parallel dimension, outside of Bampheramph jurisdiction, trapping him in an intractable dimension; the photo created a time warp and intersectable checkpoint in time. She unfreezes the rave.] DIMITRI ...magic…? SŪP∆ Uh--no! ‘magic'. The music is magic, Just trash bags...brand...yeah. DIMITRI trash...brand...bags... SŪP∆ ...yeah... [They continue to dance; she nervously looks over her shoulder for possible alternate versions of DILLON FRANCIS At the end of the break, an immediate change of tone--she readjusts her outfit and hair, collecting herself in a snap--grabbing DIMITRI by his shoulder and pulling him closer, crouching lower into a "gameplay" position.) SŪP∆ (CONT'D) Now, business talk time. DIMITRI Serious face? [She nods adamantly. DIMITRI tries to straighten up, and "get serious, still bouncing along to the beat, adjusting his sunglasses.] CUT TO: EXT. THE OPEN SEAS. DAY [In a nearby dimension, As SKRILLEX and *alt* DILLON FRANCIS continue to battle, they cross paths at sea.] SKRILLEX Nice Dinghy, dude. DILLON FRANCIS It's...not a dinghy. It's a miniature yacht, and you're talking a lot, for someone that's more of a prop, than the dialogue. SKRILLEX Prop. Plot device. Main character. Oh shit dude--I might even star of the show. DILLON FRANCIS She's the star of the show. SKRILLEX Not without me. [A BAMPHERAMPH teleportals onto SKRILLEX'S boat, tagging him, BAMPHERAMPH TAG, YOU'RE IT. [He disappears into another portal.] SKRILLEX I'm it. DILLON FRANCIS Nah, you're just “Skrillex.” SKRILLEX That's--all you need. [A MOTHERFUCKER portals onto SKRILLEX'S boat, via another portal, handing him an *object*] MOTHERFUCKER Humility. You need it. SKRILLEX ...I made the HUMBLE remix. MOTHERFUCKER Yeah you did. [THE MOTHERFUCKER disappears into a portal; SKRILLEX unwraps the object; It is a pie, labeled ‘HUMBLE PIE.'] SKRILLEX Hm. FLASHBACK: BASS DROP, HUMBLE (Skrillex Remix) CUT BACK: As the bass drops, the pie explodes; This leaves him covered in a very fruity mess, and a *bass face* CUT TO: INT. OWSLA HQ. DAY MANAGER I don't think it's good for you, If you do this movie. SONNY/SKRILLEX Movies. It's like a series. Or a saga, oh--god, I don't know. [DILLON FRANCIS shows up, out of nowhere.] DILON FRANCIS Yeah. She is. Like a God, and you're not, man. So you know...I mean… SKRILLEX Actually heh. First of all, you tell me what the price of ‘Everliving Skrillex' is, I'll wait. DILLON FRANCIS My pants are currently selling for 69.99 right now. SKRILLEX My left sock was 69.99 this morning. MANAGER Why are you buying individual socks--??? DILLON FRANCIS Why are you buying socks in the mornings? MANAGER You're up late, how are you even up in the morning?! DILLON FRANCIS Do you ever sleep? Does a Skrillex sleep? MANAGER Who are you again? DILLON FRANCIS I'm Dillon Francis. DJ- Dillon Francis. SKRILLEX Does a Dillon Francis DJ? Or wear proper fitting pants? Or do anything? Anything cool at all? Yeah actually--He pushed Skrillex off a miniature yacht! SKRILLEX ...What? [DILLON FRANCIS portals them back onto the YACHT SCENE.] *alt* SKRILLEX and *alt* DILLON FRANCIS are still fighting; They are now both on the deck of SKRILLEX's boat, DILLON FRANCIS's mini yacht burning/ devastated by what appears to be a giant kraken in the background.] ALT/SKRILLEX FUCK YOUR MINIATURE YACHT. ALT/DILLON FRANCIS You're a miniature yacht! SKRILLEX Is that US?! MANAGER I told you... ALT/SKRILLEX You're not a good villain. Or at anything, really! You're just…'Dillon Francis. ‘ ALT/DILLON FRANCIS And you're just stranded in the ocean. ALT/SKRILLEX It's okay, it's hella refreshing! UNLIKE YOUR MUSIC. ALT/DILLON FRANCIS You know what--? DILLON FRANCIS (to his alternate self) I got this. ALT/SKRILLEX Huh? [DILLON FRANCIS blasts ALT/SKRILLEX into a portal, which whirlpools him into an alternate dimension; SKRILLEX and the MANAGER look on in horror.] ALT/DILLON FRANCIS Oh God, Finally! DILLON FRANCIS Yeah, I know. ALT/DILLON FRANCIS That took FOREVER. [DILLON FRANCIS rolls his eyes and hands his alternate self a small object*.] ALT/ DILLON FRANCIS By the way-- [He opens up another portal, reaching out just to jump into it, exclaiming:] ALT/DILLON FRANCIS (CONT'D) Tag, you're it. [He disappears into the portal.] DILLON FRANCIS OH, GOD DAMMIT. COMEUPOUTDAWAHTA, S U P A C R E E M I X X __________ SKRILLEX Get off my Alien Planet! Don't touch it! It's my alien planet, nobody land on it. DILLON FRANCIS Suhweeet planet… SUPACREE No! Don't land on that planet! [He lands.] SUPACREE God DAMMIT. GOD I can't do that. You know I can't do that. It's a whole planet just--give it time. SUPACREE I gave it spacetime! I am time! GOD I know you are, dear. Just be patient. SUPACREE Be patient? He went and put his DILLON FRANCIS all over it. JESUS Let Dillon Francis play with your planet, yeah? SUPACREE What?? No, can't have it, it's my planet. No. JESUS But he already put his Dillon on it, you know how that goes. SUPACREE I do know how it goes. I wrote it. GOD How does it go? It goes: SUPACREE --No--No--Dillon Francis, go home. /SKRILLEX No planet for Dillon Francis. SUPACREE This isn't Dillon Francis Land, it's closed. And also Not. Your. Planet. Go. Home. GOD That had a lot of heart, hun. SUPACREE And no Dillon Francis. JESUS Actually, it had a lot of that, too. SKRILLEX Aha. SUPACREE --Aha, well it's about to have a lot of not-that, I'm about to knock the not-that-hot-sauce off his-- /SKRILLEX --mini yacht knocking-- SUPACREE --sock-rocking-planet-blocking-motherfacker!!!! RAAGGHHH…!! /SKRILLEX AGHRAHGHHGH!!! JESUS Whew. Did you just eat a McFury? SUPACREE MAYBEITWASAFUCKISDILLONFRANCISDOINGONMYPLANETSANWHICH. SUPACREE + SKRILLEX FUCK DILLON FRANCIS. JESUS sounds like a lot. / Sounds Like A Mouthful. SUPACREE/SKRILLEX It wasn't. Ever. Never. / It's not. (Alternately) _______ DILLON FRANCIS Hey. This is a nice planet. Ū He's gonna be like-- DILLON FRANCIS Like flabbergasted. Ū Past Flabbergasted. Did he see you land? DILLON FRANCIS Yeah. Ū Good. Lol. Did he get the coupon? DILLON FRANCIS --Yes. (Previously) [Dillon Lurks In The Background with the SupaCreepers (binoculars). SKRILLEX finds the coupon.] $-FREE MCFURY. SKRILLEX ...oh, shit. Mm! Yeah-yeah! CUT BACK TO Ū Hehehe. EXT. AN ‘ALIEN' PLANET. SPACE THE SKRILLEX Enters The Atmosphere. THE SKRILLEX 'I AM SKRILLEX' S- Sunnï Blū, Ninja Guru Singer/Songwriter Ū- The Anti-Anti-Hero, the Superhero Persona, Ninja Assassin, and Mothafuckin' Bampheramph P-PEACE (Piece, Piece of the Puzzle, Piece of Pie, etc.) Problemo (Exists when too many plot holes and complexities arrive, also “The Pretender”, who just ignores when crazy shit happens, questions all realities (?) Alt+J- SUPACREE, The DIvine Trinity C- (Copyright Symbol) The Original Cree, Alternately Chak Chel, the ancient spirit guide ‘trapped' inside of the Physical Body to Accompany and Assist through magic, rituals, and energy manipulation through music, time space, and all reality which exists within the fathomable and expanding infinite consciousness. (thought to be ancient, however actually originating from hyper intelligent and extraterrestrial existence in the outer realms. Caricatures (“Characters” Based On Various Entertainment Artists Personas, To Be Played (As themselves) S-Dillon Francis U-Dillon Frances P-Dillon T. Francis A-Dillon Flances C-Dillon Glances R-Dillon France Is E-Fillon Dances E-(Fictional Dillon) Francis/Is Pasquale -DJ Hanzel -DJ Rich As Fuck -Gerald -N(E)RD (Pronounced” NED”) Sonny Moore/Skrillex -Hereby referenced to as SS, there exists “Infinite Skrillex” variably throughout the Multiverse, however, Skrillex himself is (secretly) the singular (and seemingly random apparent “phenomenon”) of his kind. A rare and shiny seemingly shapeshifting sorcerer, the concept and use of “Fictional Skrillex” is separated into a multitude of characters, uses and ambiguities explained throughout the series. *Spoiler*, Tying into the Theme of an Ever Expanding (and alternately, Collapsing/Compressing) Infinite Multidimensional, The Term Skrillex can refer the the Persona, or Person as Himself, but alternately is used as a noun, pronoun, verb, or adjective--even sometimes as a profanity, or to be referred to as a “race”. Sammi B,/LSDream/Brillz -Sam I Am (Festival Trip Alter Ego) -I Am Sam (Festival Trip Second Alter Ego) Pasqualle Rotella A nameless, untranslatable into spoken or written language symbol, to be decided. An Ultra-Omnipitent giant (predominately purple, but emanating all colors of the cosmos) Galaxy of Ultra Concious Light Waves, SoundFrequencies, and Own Planetary Solar System, Boasting Stars which rival our own sun. A brilliant Collection of Space Dust (A relative of “Fart”, from Rick and Morty) Evil Pasquale Pasqualle Is Dillon Francis Mr. Rager (Underground Pasqualle) A No-Named Burner and Ultimate Raver, whose domain is the kingdom of the underground rave scene--he detests the mainstream, traveling (across time, as an undercover Bampheramph), Wally (Never started Insomniac, Works At Walmart as Greeter. Never Raved.) In a homage to the second back to the future, U has traveled back to 1993 to create a reality where Google and Insomniac, etc. are owned and operated by SupaCree, skewing into an adjacent timeline in the future where her superstardom and rise to fame begins as a child star on Disney Channel, crossing multiple timelines interdimensionally intersected on the Infinite Grid so complex, it begins to create a disastrous series of knots, loops, and voids, tangled now permanently into the fabric of time. Wally is asked to fill in for his coworker in the photography section, where he develops photos from a disposable camera and is enamoured by the dazzling magic of EDC captured on camera. His eyes widen as he glimpses into the photos; it is love at first sight. He makes doubles of the photos, later creating a vision board (used as a totem, easter egg throughout series) Wally's World lol The Ascended Masters The Psychonauts The Bampheramphs (& Mothafuckin' Bampheramphs, Respectively) The Insomniacs (& Pasquallians, a secret sect of magicians, sorcerers and alchemists, seers and mystics carefully selected as keyholders to ‘The Secret Gates', a secret interdimensional transit system hidden beyond VIP (VIP+, VIP++, VIP+++, and VIP (+/-) which actually contains an underground city, a massive classified compound which exists between cross dimensions, allowing for shifts in the timespace continuums and temporary constructs of reality adjust by a mastery of manipulative conception, a complete control of energy--even allowing for such things as matter to appear, disappear, The Toxic Avengers, Traveling across the Multiverse to Avenge the annihilation, assassinations, and massacre of The Infinite Skrillex Cinematic Adventures With The Insimniacs Lol ew. *The Insomniacs DILLON FRANCIS hijacks THE BLACK PARADE. What the fuck is this? I don't know. Is he a pirate? I doubt it. No, those are pirates. Oh, shit, pirates. Yarg. Uh, okay. I didn't want to do this. Nobody asked you! Why are you like this? Stop being a little bitch, Dillon Francis— please, grow some balls. I have balls. Grow bigger balls, then. You're so mean. Shut—thefuck UP. Why are you like this? UGH—! SUNNÏ BLŪ is drinking rum again, disregarding the house arrest anklet entirely. YARG! Sunnï, the police are coming! The police are always coming! UGH!!! THEY TRYNA KEEP A BLACK MAN DOWN! [kicks trash can over] SUNNÏ. YO-HO-HO—-*belches* BITCH Oh, my God. I AM GOD. GOD WORSHIPS ME. I'M A PIRATE. You're about to go to jail. Again! FUCK THESE N*GGAS. [sirens blaring; the paparazzi arrives] Warm up my forearms Before a performance Warning: I got warrants Call florance, my lawyer —bitch, yur below me, I'm the only, Blow me You should owe me — OH, that's hilarious. JACK BLACK THIS IS FUNNY TO YOU?! YES. ITS MOT FUNNY. You look ridiculous. Do you know where I just came from?! Uh. Wednesday afternoon church? No! The 60's! Was it racist? YES. You look racist. This isn't funny! You need to fix this! I need to eat impossible chicken tinders. That sounds gross You look gross! You! Fix this! Where are you going?! Somewhere safe before the acid kicks in! You took acid?! IN THE 60's! Okay, have fun Have fun with your yuck-nuggets PASQUALE Wanna hear some tea? …no. CC! It's me! CARMELLA?! —YES—and no! Why are you Pasquale? Who's “Pasquale?” I met this guy at work! What?! Do you like it?! No! What. Did I not do it right?! No—! I mean—yes- but, Carmella— Huh I never taught you what to do with the other person when you're shape shifting into their body So?! UGH-/! No!! Where's Pasquale?! Who is that!? UGH. —- Hey. You came to winco at 3 AM for some Pringle's and franks red hot sauce *sets milk down* And white milk. It's la

Locked On Suns - Daily Podcast On The Phoenix Suns
Suns Eat Humble Pie, Sarver Sale Looms Over Trades, What's Up w/ the Defense?

Locked On Suns - Daily Podcast On The Phoenix Suns

Play Episode Listen Later Dec 15, 2022 36:17


Phoenix Suns stars Deandre Ayton and Mikal Bridges ate a big dose of humble pie after a loss in Houston this week. Brendon Kleen explains why being honest and open might actually be best for the Suns after a long time of the opposite. Then, a Suns mailbag on whether Robert Sarver selling the Suns is hurting their ability to make trades, plus how a closer look at why the offense and defense are each struggling the past two weeks. Follow & Subscribe on all Podcast platforms…

LagunaPalooza: Fantasy Concert
The Songbook of Rock By The Numbers

LagunaPalooza: Fantasy Concert

Play Episode Listen Later Dec 11, 2022 60:37


It's by The Number's, includes Tommy Tutone, Gloria Estefan & Miami Sound Machine, Feist, Louis Prima, Brian Setzer, Simon & Garfunkel, Bryan Adams, Prince, Joss Stone, Matchbox Twenty, The B-52's, Nena, Humble Pie and The Wall Flowers

3AW Remember When with Philip and Simon
SOS: Showbiz with Sandy Kaye - 10 Dec, 2022

3AW Remember When with Philip and Simon

Play Episode Listen Later Dec 10, 2022 31:52


Sandy Kaye brings us news about The Seekers, Humble Pie, and Donovan, and a live stream from Little Feat. Sandy reviews Harry & Megan, Blazing Saddles, Avarice, and Madonna's reissue of S.E.X Sandy talks about Geof Cox's lates project "Coxy's Backtrack"See omnystudio.com/listener for privacy information.

A History Of Rock Music in Five Hundred Songs
Episode 159: “Itchycoo Park”, by the Small Faces

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Dec 7, 2022


Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

christmas god america tv jesus christ love american family time history black australia english art europe uk rock england france giving americans british french song australian ireland north bbc progress park reflections broadway wolf britain birds animals beatles universal mac cd mine oxford wood hang manchester rolling stones shadows pirates habit rock and roll released faces bang dublin david bowie patterns last dance stones goliath shortly diary depending shake factory djs bart sellers wasn cds moments disc lsd lynch pink floyd burke engine dixon meek outlaws bells sheffield led zeppelin pops johns dreamers screaming jimi hendrix steele motown beach boys west end hammond andy warhol pratt deepest kinks mick jagger bern cherokees spence marriott ogden calder rollin rod stewart mod mixcloud oddly tilt stoned al capone herd blah mods dodger tornadoes sam cooke keith richards pastry goldfinger booker t hermit rock music oh boy little people bohemian caveman jimmy page robert plant east end buddy holly sykes prs other stories bad company seamus jerry lee lewis phil spector my mind thunderbirds my way viva las vegas daleks oldham king crimson outcasts humble pie national theatre joe cocker drifters milligan peter frampton brian jones make it nme todd rundgren peter sellers pete seeger stax oliver twist moody blues mgs fifth avenue yellow submarine howlin cliff richard johnny hallyday pete townshend frampton cockney davy jones gordon lightfoot hollies hey girl laurence olivier john paul jones boz keith moon buffalo springfield decca unwin bedfordshire mccoys on new year ronnie wood petula clark first cut all or nothing dave clark john mayall eleanor rigby eric burdon small faces brian epstein gary glitter cilla black solomon burke my generation william hartnell live it up donegan