Yes, the 2030 musical 👍

Well, as I said, I go to Question Time largely to do research. It's an elected cross-section of the country debating each other, so there's lots of interesting accents and turns of phrase. Satires are supposed to be 'too close for comfort' -- I mean, compared to the South Park guys, it's incredibly tame. I haven't mentioned a single politician by name in the script, and I've only mentioned one of the political parties: I thought that was one of my best lines btw -

To be honest, I think other people genuinely assumed other celebrities were my model: for example, Barry was a riff on Paddy + Don, but I think a lot of people saw him as John Campbell or Jack Tame, and Edgar was a dude I invented, yet everyone thinks he's Winston. Whether people saw me as Jo -- well, I got that impression from several people, which is great for my legal defence (presuming a legal challenge), but I think she's somewhat different to Amanda. Hannah's the frontrunner to play her atm. This is the point of satire: to get under the skin of the powerful people. That's what I've done, and now I'm simply reminding everyone that I haven't referred to you by name in my screenplay, though as a private citizen I have opinions about the powerful people. I think there's a lot of people who would like to see my 2030 movie, though sadly they're all broke-as lefties. 🤣 - If Marama identified with Rose, that's surprising to me: I saw Rose as a white lady -- she's Jo's mum, and Jo is deliberately whitebread. I've spent an equally long amount of time defending my autobiographical screenplay from people who think I 'stole' their lives. Clearly I'm a gifted writer, and people identify with my characters and plot arcs. 😅 Snarking to the people who think I'm a retard: Perhaps the crazy freak who is good at silent contemplation is more perceptive than people give me credit for: as I say, I have good theory of mind, and that's what the scripts demonstrate. Plus I'm genuinely empathetic. The tapes too... as I say, ranting onto those a skill I taught myself, and I think it serves a purpose, which was to talk about drugs openly -- while the tapes sound like a podcast, they're really a type of street performance. - From my inbox: I'm not submitting in the jazz composer category. I don't see the point: I won't win, and plus it'd send the wrong message. Jazz musicians don't see me as a jazz musician.

APRA should add a category for musicals.

- Repeating myself, but hopefully getting a fairer hearing .. so sick of discussing this: 'Do my Amanda Michelina tapes sound like Don McGlashan' -- somewhat, but honestly I doubt he could sing some of my cycle stuff. He's not a jazz musician, and that's why I'm mostly insulted that people were annoyed. The way I see it, he sounds like the Dunedin rockers, but with a better voice. The Mutton Birds drummer was from Sneaky Feelings, so I reckon he copied their sound. If I'd heard Don sing Misty or whatever, then maybe I'd have bought into this whole 'you stole my voice' bullshit, but clearly Millie Bradfield and Daphne Walker were influences too. People were just surprised to hear a Kiwi accent... I've heard his tapes from when he was my age; I think I've got a better low register, but I wish I had the fluent high notes (though that's mostly the post-Mutton Birds Don). - The Wellington public may well be annoyed with me, but I'm pretty furious at the lot of you for your reductive assumptions about my chosen name. What I learned was that Wellingtonians are just as mean, petty and vain as I portray them in my satires. I'm only a ghost because you've never sent me a friend request or bothered to email me.

I wasn't hiding. My address is published on my website, and it even has a 'get in touch' section. You're the cowards, people who want my script but hate Amanda's guts. 🤬 I gather that's the part of my Tina script that the Wellingtonians have a problem with. That stuff about Tina and the avant-garde guy was genuinely tamer than some of those chats I've had (or heard about) from real life. I moved some of my meaner lines about the Wellingtonians into my 2030 script. That's where the dialogue that leads into the Beach Song comes from. I was writing from experience re: the rest home -- I mean, I worked at Maccas, but that's where I was drawing from. There was a lot of flirting going on there, and it was very mixed ethnically. So yeah, I'm not interested in a 'nice' musical about theatre kids. The climate war is what's real .. that's really happening right now in Ukraine, and it's been the theme of the last 20 years of American interference in global struggles. Plus I haven't even added China to my 2030 script yet... who knows what I might cook up? - Real life vs. screen life As for the music school: Ken made basically everyone in my orchestration classes cry. My experience of classical music was relentless disappointment, while with musicals I've had much more success, though it's a pity that Kiwis mostly don't care about musicals. 🥝 I'm simply not interested in a whitewashed portrait without any of the mean shittiness that truly permeates the arts scene in Wellington. This is why I don't want the theatre people anywhere near that screenplay: they'd turn all my characters into themselves, then they'd ham it up and do lame karaoke. That's bullshit, and that's why I haven't sold that script. You will never persuade me, James and Cass, or Michelle, or VUW or anyone else. It's my choice not to sell. That's fair. If these people had the courage to contact me directly, they might find me more agreeable, but I'm pretty resolute that I'm not interested in making my story. I genuinely think it shows a lack of initiative on the part of anyone famous that they haven't secured the rights to my work, and perhaps a widespread belief that my 2030 idea is 'poison' because the pollies aren't happy. They haven't been happy about most of what I've done. I'm well over giving a shit what they think .. upsides of being affiliated with a radical party. I think my stunts for weed are a sign that persistence is effective, and my persistence with the 2030 musical will grind down my opposition. That's why I want to do the concept album. That's my way of introducing the 2030 story sans visuals, and seeing if they think it 'promotes terrorism' .. I utterly disagree: the extremists are very real, and there's a lack of media coverage about that. If anything, the goal of my satire is to prevent that future from occurring. A bullshit jukebox feel-good musical would not have that effect, and that's why I'm telling anyone who is interested in that idea to fuck off and keep fucking off and write your own damn songs. See if you lot can write a song like mine, rather than telling me to be your 'saviour' -- that's fucking lame. I'm not singing the songs with a band. It's that simple: no gigs, no performances. The songs are for the 2030 musical and until the musical is realised, I'm not performing them. If you wanted to hear them live, I tested some out at Ingrid's open mic in 2021. Yes, I've been working on my 2030 story since 2019; even longer if you count the attempt to adapt Runaway Daughters when I was a student. It's been a long time, and I'm dedicated to finishing that screenplay by the end of the year (hopefully). You can see me as 'like Tim/Tina' in my real life, and spout some bullshit about how you 'understand me better' after reading said script, but you can't persuade me to perform. I've got my solo guitar album planned and that's all. - PS: according to all reasonable view counts, nobody sees anything on my page other than when I advertise, and same for the blog. So don't swipe at my blog if you're criticising the 2030 story. Yes, I write reviews of Question Time, but I've been developing that story for way longer, and well before my manic-psychotic episodes (many of which were caused by the other script). 🧠