Deepest of gratitude(s) to the person(s) who wrote, retained, photographed, posted to Discord, saved from Discord, and collated the pages into Journalv2.pdf at awkshare.com

Style notes: I have tried to retain as much of the original character and formatting of the original text, but have had to take some liberties to try and capture as much as possible.  Andrew generally write in all caps, so to make this text less shout-y through a speech-to-text converter/challenging to read visually I have tried to only use caps for words that seem to be larger for intentional emphasis.  [Anything written in square brackets like this] is me, the transcriptionist, addressing you directly to describe something non-textual/diegetic that I think is important for understanding this text as much as possible.  [SIC] stands for Stated In Context, and indicates a ‘misspelling’ that I have made sure to record as was written - apologies if I’ve done this for any American spellings.  Anything written in italics like this is in a ‘different’ handwriting, i.e. anything that appears to be written by SoMeone else.  Anything that has been scribbled or crossed out ||is contained between two bars like this||, and I have tried to be transparent with any guesses I’ve made.  √ indicates a tick.  There is a list of acronyms used throughout the text, and potential solutions for most. Best of Studious Partying to you, and please contact LysergicCommunion in the Andrew W.K. Discord server if you have any further questions.

[FRONT COVER 1]

	No	Yes							KEEP-> ON-> WORKING ->
Andrew W.K. Vision Mission
				1998
Private

[PAGE BREAK 2]

This is my world

==Noise== Intensity -> (NYC) MUSIC or die <- real ==Art== 
ANDREW W.K. Entertainer, Performer, Concerts, Showbusiness A.W.K.
1979 - 1998 - 2001					1998 - 2998 - 9998 ->8
Don’t be a fucking wimp.				Use computers!!!

				212-714-4646
==ANDY== Vision Schedule Fall 1998 NYC ! ? [infinite symbol] / [infinite symbol] ¿ ¡
Name: Andrew Wilkes-Krier (<—TOO LONG, W.K.)
<3 Address <3 65 Jewel Street Apt 1R Brooklyn NY <3

[timetable schedule including WORKOUT first thing each morning, JOB for 8 hours Sunday, Monday Wednesday and Thursday, PLAN for the final two hours of each day, and RECORD for the rest]

								MADE IN ==BRAZIL== ->USA UK
Stay FOCUSED Stay STRONG [yin yang circular symbol incorporating high/stupid and low/smart, but all crossed out] [square with opposing sectors HIGH/LOW, SMART/STUPID and $/ART] = [Triangle diagram composed of small URGENCY!!! at its base, large section filled with “PATIENCE?” and a small ! at the top] Mirrors Doubles Double UK
Don’t Tell ANYONE!!! (Except Mom, Dad, Frank Vierti, Mario Dane, Steev Mike, ||[illegible]||, Kristine) Never explain.

[PAGE BREAK 3]

[Cracker Jack Ball Players card] [post-it note with text] Meeting with lawyer 12 noon Smith and Wolinski 797 3rd Ave Friday BE ON TIME ANDREW!

[PAGE BREAK 4]

9/20/1998
EQUIPMENT AND GEAR  The tools for the work
STEP ONE First thing’s First…”The tools”
New Recording System - 
Computer $2,000.00 √
Cards, audio $340.00 √
	   midi   $100.00 √
Software $320.00 √
Mixer $450.00 √
CD-R Burner $1200.00 √
Moniter [sic] Amp $180.00 √
Speakers $250.00
		$4840.00 —> A: Need more details on this number SM

$2500 
 1000
 300
 1600
 1100 
 750
7250

[Post-it note with text] Keyboard Audition Café Wha!? 115 Mcdougal Street TUESDAY SEP 22 (dress up nice_ 9:pm (don’t be late!)

[PAGE BREAK 5]

3/20/98 NYC
NOTES FOR MUSIC AND RELATED ELEMENTS IN MY NEW PRESENTATION (STATEMENT TO MYSELF)

Trying to be “innovative” in any profoundly meaningful way is essentially a fool’s errand when it comes to music genres.
Besides, music as a sensory experience, transcends the ego idea of innovation anyway.  It doesn’t really matter if it’s innovative, if that sonic or musical “innovation” doesn’t deliver anything of sensational value.
What matters in any worthwhile encounter with music, is the power of the cumulative and multifaceted sensation that the audience experiences.
So the area of innovation (more worthwhile) is all the surrounding areas in the vicinity of the music.  I can have a chance at innovating in everything around the music.  The psychological atmosphere.  That area is still relatively untapped, uncharted, so much potential!!!
Make innovations in all the feelings the audience gets from what the music is happening INSIDE OF.  How the entertainment is presented.  Manufacture magical contexts.  This area is so neglected if not altogether overlooked by most “musicians”.  Actually, they intentionally dismiss this area as somehow being beneath them, despite it being incredibly fertile ground for the imagination of both the “musician” (creator) and the audience.

[PAGE BREAK 6]

RULE IT ANDREW! RULE IT!!!

There are so many moves to be made in this realm.  ESPECIALLY if they are made with extraordinary calculation, patience, and with the utmost restraint.
The number-one-problem most people have is that when they do have the courage to venture into this area, they can’t help but blurt it out and show their hand.  The urge to reveal what you’re doing to the audience is enormous - this is part of the bagain [SIC].  You can’t have it both ways.  You desperately want to show how the magic trick is being done, but not only can you not reveal the secrets of the trick, YOU CAN’T EVEN REVEAL THAT YOU’RE PERFORMING A TRICK IN THE FIRST PLACE.
Think of it like this, Andrew:
You must become so adept at slight [SIC] of hand that very few (of even no one) will realize that you’re even using slight of hand at all.  It’s like disappearing without most of the audience even realizing you were there to begin with.
ANDREW: Focus your biggest creative ambitions on long-range audience manipulation and psychological (perception) performance.  But, at the same time you must not neglect the more primal and immediate surface areas of your music work.  They both count. Make your music as objectively “good” as you can within the accepted and beautiful limits of the craft.  But put your imagination’s greatest abilities to work in the larger world that you build around the music.

[PAGE BREAK 7]

Make my vocals sound like a crowd, like no “one” is singing.  No voice in particular.  Make the listener hear their own voice singing the song in the recording the first time they hear it.  Make it feel like they were at the recording studio, singing on the song.
Change vocal style radically in the long-run? (Hire different people to sing lead vocals on each album, but always say it’s the same person?)
Unleash a sonic black hole: once an instrument and a performance goes in, it gets squashed until it’s completely obliterated into PURE ENERGY. 
(Maybe start out with a more keyboard driven hard techno sound and then go more hard rock on next release? Or reversed?)
Rock music is the best pre-established genre for you, because, by its nature, it is simple yet unconstrained within the limits of itself.  It can be both “raw” and “ostentatious” at the same time.  Plus, the “rock musician” archetype remains deeply established and understood by an extremely wide range of people. Even people who don’t “like” rock music.
Rock music is also beautifully boring, unassuming, humble, and accessible.  Yet it is also completely limitless in its potential for every type of creative intensity, passion, extreme freedom, and conceptual movement.
Rock music/Hard rock music is the style of music you are committing to.  Embrace this and NEVER unofficially stray.  GET THIS INTO YOUR HEAD, ANDREW!

 [PAGE BREAK 8]

Oppressively joyful melodies and chord changes. 
Fast driving rhythms.  Simple pounding drums.
Super major key.  1,4,5 with inversions imposed over the entire major scale - epic emotional chord voicing.
DO NOT USE minor pentatonic scales! Go minor many years later, for the sake of unexpected and powerful dynamics (make multi-year timeline for music changes and planned intensifying).
DO NOT make the music too outwardly flashy in terms of highly difficult or “show-off” technical playing or parts.  Simple melodies.  Deceptively simple parts and arrangements ONLY.  Simple guitar melodies.  No guitar shred solos.
Make your music style defined by a bombastic and completely annihilating grandiosity - cinematic production sensibilities.  Big and huge and massive. Heavily-processed-everything.
Shouldn’t really sound like “real instruments”.  Individual instruments should not sound intimate or have personality.  Make it almost violently slick and glossy.  As much sheen as possible.  Make it sound inhuman.
Remove all semblance of organic, natural, or human presence from the entire sonic palate [SIC]. Even the vocals should sound superhuman or robotic or just “too much”.  It’s the totality of the sound AND the presentation and covert atmospherics that all add up to my total expression.  No individual element is the expression.
NO SOUNDS OF SPONTANEITY! NO IMPROVISATION! NO “REALITY”. MAKE THE MUSIC MONOLITHIC (S.K.) MAKE IT SOUND ALIEN.
Make the music sound like an archetypal music from another alternate version of life.  Like it’s always been here.  Always existed, never existed, and will always exist , AND all at the same time. MAKE IT SOUND IMPOSSIBLE.

[PAGE BREAK 9]

Make your music work like slight of hand (slight of ear) for the audience’s subconscious mind.
You’re not just using slight of hand on them, you’re using on yourself too, Andrew.
Make your music like a magic trick for the soul.
Smoke and mirrors, but make the smoke and mirrors so intense and overwhelmingly dense and complete, that it can stand on its own and be loved even as a smoke show.  Maybe the smoke and mirrors are covering up more mirrors?
MUSIC SOUND STYLE
Dance music drive, disco pounding, techo [SIC] slamming, piano and keyboard driven hard rock music with orchestral instrumentation and lots of sound design.
Really, REALLY loud guitars, tons of guitars. —Almost too much guitar— Add tons of guitars and then really start adding guitars.
Make your music super-produced, over-produced, epic and overwhelmingly intense hard rock music.  Straight to the throat.
In the long run, stick with hard rock music, regardless of urges to “move-on”. Never really move-on. Only intensify! ONLY GET MORE AND MORE INTENSE AND OVER DEVELOPED. Never abandon! Never break your promise! 
Hard rock music already contains intensity and amplification in its default instrumentation and attitude.
Surround your music with a deeply unsettling background atmosphere - at times very brazen, at other times very subtle, but always present, lurking, that feeling… [in a box with arrow pointing to feeling]: YES

[PAGE BREAK 10]

MY NEW MUSIC STYLE		3/17/98 NYC
Total sonic maximalism, within the standard and accepted limitations and formal structures of “hard rock” music.
Make initial visual presentations relatively sparse and obscure. Dark and even malevolent imagery to contrast sound of music and song themes.
Use blood, skulls, black backgrounds, flat graphics, but high-production values in design and style.
Have a lot of the music themes, lyrics, chord changes, and melodies be super “happy” and seemingly “positive”. Fun kind of rock music.
Endlessly build on the contrasts and the fundamental dichotomies - amplify this friction and tension and hardness the power and energy it makes.
Make my music work like a means to an end that is also an end in itself.  A prop that also is the main object of the movie.
Make my music work like a beautifully enticing smokescreen - an oppressively loud and blaring distraction that is also an invitation into itself.
Make my music an aggressive show to obscure what’s really going on.  Make it a super loud ringing hollow vessel, that I can carefully fill with an endless amount of ideas over many, many years.
YOU’RE IN THIS FOREVER , ANDREW. YOU TOOK AN OATH.

[PAGE BREAK 11]

Jan 1, 1998 -> present

Send - summary > income - commissions

Send summary > Nov 1997-1998
Utilities - gas & electric, phone bills
15 mo/gas
25 mo/elect.
90 mo/phone
780 rent
250mo food
75 subway transport.
20mo laundry
$1255.00       $1300

1. Cut off voice mail
    “     “    call forwarding
2. Copies of VISA/MC bills

300 Ritchey debt			Aaron
-50 paid					$300.00
$250.00
						Credit Cards
						1. 900.00
						2. 300.00		} 1200 debt
									$1600 computer
Computer $3000 } $4500 spent
Music 3,000

[PAGE BREAK 12]
					1/2/1998
1998 PLAN 	Andrew Wilkes-Krier

√ Move to NYC - find place to stay/apartment
√ Work at Comme des Garçons
NO X Work at Metro Pictures (?) art gallery C.S.
√ Start saving money
√ Get better walking shoes
NO X Figure out girlfriend situation and how to deal with others
√ Clear out all old stuff
/ Get new style
*√ Big lifelong project, (like the baseball cards but) with your WHOLE LIFE. [this point is circled]
/ Work on my personality (make it better)
√ Figure out music situation
NO X Try to make some friends? (maybe not…)
√ Eventually move most important stuff into new set up
NO X Get van? (Too expensive for parking…)
Sign up for AC drug trial and ||success coaching|| masterclass [note - this line and all the ticks/crosses are in black pen, the rest in brown pencil)

[PAGE BREAK 13]

[photo of front of the Cracker Jack Ball Players card]

[PAGE BREAK 14]

9/20/1998
EQUIPMENT AND GEAR  The tools for the work
STEP ONE First thing’s First…”The tools”
New Recording System - 
Computer $2,000.00 √
Cards, audio $340.00 √
	   midi   $100.00 √
Software $320.00 √
Mixer $450.00 √
CD-R Burner $1200.00 √
Moniter [sic] Amp $180.00 √
Speakers $250.00
		$4840.00 —> A: Need more details on this number SM

$2500 
 1000
 300
 1600
 1100 
 750
7250

[Post-it note with text] Keyboard Audition Café Wha!? 115 Mcdougal Street TUESDAY SEP 22 (dress up nice_ 9:pm (don’t be late!)
[more zoomed out than previous photo of this page]

[PAGE BREAK 15]

[photo of rear of the Cracker Jack Ball Players card]

[PAGE BREAK 16]

[photo of two more baseball cards; “BENDER, Phila.” & “JOHNSON, Washington”]

[PAGE BREAK 17]

(2) Computer:
G-Force					$2,000.00 (?) ok
Electra BX-450 D
ND Yamaha 3D Sound System
W/ Windows 98				1-800-250-8141
W/ Soundcards
	47 W. 34th St Suite 857
(1) Soundcards-
	-Digital Audio					ok
	√ Midiman D-Man 2044	$339.99
	-MIDI						} order # PO362385 $459.00
	√ Midiman MM-404		$100.00
(4) Mixer-
	Mackie Microseries
	1202-VLZ 12-Channel Mixer	$369.99	ok
(5) CD-R Burner-
	Marantz CD-R Burner 630		$1200.00  ok
(6) √Moniter Amp
	Samson Servo 120 Power Amp	$179.99	ok
maybe<
	√Moniters
	Ram Studio 160			$250.00 	ok

[PAGE BREAK 18]

(3)√ Software
	Cakewalk Pro-audio 8 PC		$319.98	ok
    √Microphone-	
	AKG C3000 Condenser		$319.98	ok
(7) {
    √Mic Stand-
	Rogue Tripod Mic Stand w/ Telescoping Boom $39.99 ok
					Base Total ||4700|| $4280 +/-
					w/ extras $5080 +/-
							ok
√ SansAmp GTZ Tube Amp Emulater [SIC]
							$169.99 	ok
		Item # 480208
( Roland EP-9 Digital Piano		$879.98)
		Item # 70-0359			ok
Musician’s Friend Credit Card		$2948.78
	Order 10/13/98				ok
				First payment ||$982.40|| End of October
						     ||852.94||
				Next 5 $1,132.61
				Order # P0365140	$400.00
							ok
[PAGE BREAK 19]

							First Card VISA
Yamaha 12-string guitar - 					10/17/98
	FGX 412C-12
Item # 50-0077			$539.97 ($559.92)
			$199.94
			$179.99			ok
			order # P0368128
||Yamaha FGX-412C 6-String	VISA CLASSIC||
||Item #50-0076			$499.98	10/16.      ||

Roland SC-880
64-Voice Synthesizer module		ok
Item # 70-0062			$899.94

Roland EP-9 Digital Piano			ok
		Semi-weighted	$879.98
Item # 70-0359
OR{
Yamaha P2000 Digital Piano
		Graded Grand-Hammer	ok
Item #70-0743			$1,919.94
||SansAmp GT2 Tume Amp Emulator||
			USAA VISA
SansAmp PSA-1Preamp	$609.93	ok
Item # 48-0202		P0370764

[PAGE BREAK 20]

<3
	DICK MISTER
		go smoke grass ——————> ??Not Good SM
		chump butt <3 sweet tweet		^
									|
		I WILL NEVER SMOKE GRASS!!!	|
[rest of page is torn off]

[PAGE BREAK 21]

Clothing and Image and Look Ideas 	10/25/98

Maybe start with a more ||punk|| look? ||Crust Punk?|| Leather jacket and sleeveless black denim over it - metal spikes and studs? Look VERY dirty. Add layers, sports clothes? Start punk fake, and then flip it to “hip”? Something less stylish.  Leather pants? Or jeans, athletic clothing - functional clothing.
Let the look seem to “emerge”.
Black leather jacket or white leather jacket? Maybe instead of studs and spikes, lots of different patches and emblems
Athletic Logos Shirts, [rest of page is torn off]

[PAGE BREAK 22]

Look Idea:		||MULTIPLES||

[quick pen drawing of Andrew in ‘mirror’ square wearing 89 jersey and FILTH-patched leather jacket, half another Andrew visible behind him wearing a white shirt. Notes include: all black background, multiples, spikes and studs, black leather jacket, sports shirt, white shirt? over second Andrew, and Yes to the left of the drawing. Andrew in the jacket is crossed out, Andrew in the white shirt is circled.]
								Nice! [SM’s text is crossed out] -> NO
CONTINUE
MAKING
MUSIC
					Keep Recording [written in stylised cursive]
STICK
WITH
THE						And painting
VISION					for cover design!

[PAGE BREAK 23]
[this entire page is crossed out in SM purple]

$344.22 Muscian’s [SIC] Friend paid 10/26

GEAR TO GET:
SansAmp PSA - Preamp Emulator
Item # 48-0202			589.98

Roland EP-9 Digital Piano
Item # 70-0359 Musician’s Friend $879.88
			- OR -
Yamaha P200 Digital Piano [this item crossed out]
Item # 70-0743			$1,919.94

Roland SC-880 64-Voice Synth-Mod
Item # 70-0062			$899.94
			- OR -
Alesis QSR 64-Voice Synth-Mod [this item crossed out]
Item # 70-5520			$749.94

Digitech Studio Vocalist EX Processor
Item #18-0050			$799.96

ART 351 Single Channel 31 Band EQ
# 18-0584				$159.99

Auralex 2-Inch Pyramid Foam
#42-2622				$279.99

[PAGE BREAK 24]
[this entire page is crossed out in SM purple]

Continued…

FX Processors

Behringer Virtualizer DSP1000
Item # 18-2409			$209.99

Eventide H3000-D/SE Ultra-Harmonizer
Item # 1803192			$2,299.96

dbx DDP Digital Dynamics Processor
Item # 18-3546			$509.97

PLAN OF ATTACK
Once I get computer set up I will see if I need to get additional effects processors and a ||large mixer||				NO!
See next page ——>

[PAGE BREAK 25]
[SM purple question marks after every item on this page]

TO ORDER ASAP…
FROM MUSICIAN’S FRIEND…
*(use Sam Ash price match)	11/5/98

Roland EP-9 Digital Piano
Item # 70-0359			$879.98

Roland JP-8000 Synthesizer
Item # 70-0394			$1,199.84

Roland SC-880 64-Voice Module (1 Rack)
Item # 70-0062			$899.94

MIDI Cables
-4x Item # 33-6195		$2.99 each
-2x Item # 33-0100 15 foot $14.99 each

Digitech Studio Vocalist Ex-Processor (1 Rack)
Item # 18-0050			$799.96

||Art 351 Single Channel 31 Band EQ ||
||Item # 180584			$159.99.    ||

Auralex 2-Inch Pyramid Foam (1 Rack)
Item # 42-2622			$279.99

||Behringer Composer Pro MDX2200	(1 Rack) ||
||Item # 18-2403		$259.98		      ||

[PAGE BREAK 26]

Three polaroids presented in a triangle: the top image is the (Indian?) puppet from Andrew’s Hanson promo video; the bottom left image is Andrew with short hair wearing a blue hoodie and looking up (seemingly towards the puppet); the bottom right image is of a room strewn with musical gear and a large monitor speaker

[PAGE BREAK 27]
[SM purple question marks after every item on this page]

S.A.
||Behringer Ultrapatch Pro PX2000||	(2 rack)
||Item # 18-2425		$79.99. ||	(1 rack)
							(2 rack)
||Eventide H3000-D/SE Ultra-Harmonizer ||
||Item # 18-3102		$2,299.96        ||

||Rogue Windscreen 		   	 ||
Item # 420-1010 RED	$2.79 ||

RK-12 12-Rack Space		(9 occupied)
Item # 54-8112			$89.99

				Total	$4,688.56
A: need to bring this number down ^
SM

[PAGE BREAK 28]
[entire page is crossed out in SM purple with a big “NO!”

CAKEWALK QUESTIONS:
1. Full Duplex?

2. Sound Quality

3. FX-Plug-Ins

[Post-it note with the text: Audition Guardian Sound 548 W. 53 Wednesday 6:15pm SHARP! Jim 3rd floor]

[PAGE BREAK 29]

Personality and Attitude CONCEPTS/IDEAS			11/17/98
Appear friendy [SIC] and do the “nice guy” actor’s role, while also working on being possibly evil (in an opaque way)
Trickster hero. Start out being super kind (almost too nice?) Do opposite of stereotypical inaccessible performer (save that for later). BE TOO ACCESSIBLE!
Devalue autographs by doing too many of them and making them too easy to get. Make it too easy to meet you.
Build up all of the above until it’s expected and taken for granted.  Then contradict it in a very typical “entertainer” way.  Be very unpredictable.
Never ever “evolve” your personality or style too blatantly.  NO “CHARACTERS”. No new personas.  Never “mature” or grow up in an explicit or openly stated way.
Just be the person FOR REAL, but never be yourself or a “character”. No ACTING, or actors. No public discussion of “concepts” or “characters”.
KEEP IT ALL PRIVATE!!!
Never be yourself, never be myself, never be someone else.  Never be.  Never not be.  DON’T TELL ANYONE ABOUT ANY OF THIS!!!

[PAGE BREAK 30]

MORE PERSONALITY AND ATTITUDE CONCEPTS 	11/18/98
Someone who is alone, walking away, walking by, walking downstairs, walking upstairs, on the sidewalk, in basements in anonymous and commonplace areas, forests.
Someone who is in grocery stores, pharmacies, fast food places, bathrooms, other people’s parent’s houses, hotels, motels
Doubles, doppelgängers, multiples, many, one, mirrors, repeats, bacwards [SIC], upsidedown (later).
D.L. -> Lost Highway feeling but in real life (go out of “the movie” out of the medium)
Transfiguration, crisis, identity implosion, psychological collapse feeling - breakdown feeling.
You are not an “artist”! “I’m not an artist”.
Never refer to your work as “Art”.
Don’t smell too good.
As soon as there’s an audience expectation, consider underming [SIC] it, undermine yourself.
Change your handwriting in subtle ways throughout.
Undermind myself. Go evil? (Always was?)
Down the road, leak hints of a forboding [SIC] shadow which had always been there but was overlooked (deliberately), despite hiding in plain sight.  Have it all go dark and then light again, at the same time.  The feeling of this ——> day and night simultaneously

[PAGE BREAK 31]
[smaller pages seemingly torn from a notebook]

GENERAL IDEAS FOR PRESENTATION AND STYLE	11/19/98
								ANDREW KRIER	
Be totally accessible and inaccessible at the same time
Use tricks and social methods from D.C. course (H.T.W.F.A.I.P.)
Manipulate people/psychologically impact them
Experiment with more tricks and manipulation ordeals on “friends”.
Make sure overall surface level presentation goes to the very depths of the lowest common denominator, while also appealing to the most remote fraction of the audience that are willing to go all the way and beyond into the esoteric layers.  This is CRUCIAL. ———>

[PAGE BREAK 32]
[two more pages torn from a notebook]

PLANT AND eventually “explode” some sort of “dark secret past”. Make up some sort of sinister secret side?
Contradictory and incongruent hidden history? “HORRORS, “terrors of discovery” of TRUTH?
Do a constant good vs evil - devil versus christ?
“BAD PERSON” vs “GOOD PERSON”
Orchestrate “leaks” and controversy to discredit myself.
Make it look like your’e a FRAUD. Call yourself into question on every level.
Cast severe and unsettling double on yourself, my external legitimacy, your existence, my humanity.
“IS IT HUMAN?”
Cast my “positivity” in a negative light.  Make even my smile appear sinister???
[second torn page]
Make something that looks nice and mean at the same time.
BETWEEN good and evil?
Human vs Monster
Criminal thoughts/past
Evil imagination
Never let people know exactly where you’re coming from, or where it’s all headed. VERY IMPORTANT:
Don’t discuss my personal life too much.
Don’t discuss my current events too much
Don’t discuss my problems too much.
Don’t discuss my upcoming plans too much.
Don’t discuss my lyrics too much. (Occasionally contradict all of this?)

[PAGE BREAK 33]
[two more pages torn from a notebook]

Make some of the people I work with think I’m insane? Mean? (FAKE DRUGS? OR ALCOHOL?) REAL PUKE BACKSTAGE OR ON STAGE? FALSE PUKE? 
MANUFACTURE BACKSTAGE “ANDY PROBLEMS”?
Make everything true come off as false or fake.
Make everything that’s real seem phone.
Make all of the lies seem VERY true and DEEPLY real.
Make people see things that aren’t there.
Make people miss the obvious things that are there.
Make them blind. (Evil?)
Make them over-see.
[second torn page]
NEVER let people know what I’m capable of doing.
NEVER let people know what I’m incapable of doing.
Make people underestimate me.
Make people overestimate me.
LIE ————> C.S.E.I.
COVERT
SUBCONSCIOUS
EXPLOSIONS
OF IMAGINATION
Mind-blow the audience.

[PAGE BREAK 34]

1999 NEW RECORDING PLAN

GEAR TO GET:
* = essential	0 = needed	^ = wanted

* Roland EP-9 Digital Piano √
(MF: # 70-0359 $879.98)		OK

* New Ultra-Wide SCSI Hardrive 18G		?
(From Global Computer - $2,000+)

^ Roland JP-8080 Synth Mod √	OK
(MF #		$1299.98)		4 rack

^ Roland SC-880 64-Voice Synth Mod √ OK
(MF # 70-0062  $899.94)		1 rack

0 MIDI Cables
2x(MF # 33-6195 $2.99 each) $6 Adapter F/F
4x (MF # 33-0100 6’ $10.99 each) $88
2x (MF # 33-0100 10’ $12.99 each) $52	OK
2x (MF # 33-0100 15’ $14.99 each) $30

0 ART 341 Dual 15 Band EQ √
(MF # 18-0587 $159.99)	OK	1 rack

* Auralex 2-inch Pyramid Foam		OK
(MF # 42-2622 $279.99)		√	—————>
					42-2606 √

[PAGE BREAK 35]

||Behringer Uli||				1 rack
0 DBX PB-48-Pooint 1/4” Patch Bay
(MF # 18-3536. $129.99)		OK	√

* RK-16 16 Rack Space
(MF: Item # 54-8116 $99.99)	OK	√

^ T.C. Electronic Wizard Finalizer Plus
(MF # 18-3006. $2,349.98) ———> ?
AlesisDMPro 20-Bit Module $699.99 #70-1502
^ Eventide DSP4500 Limited Edition Ultra-Harmonizer
(Special order - MSRP $5,895
				OR (if above not avail.)
^ Eventide DSP4000 Ultra-Harmonizer
(Special Order 0 MSRP $4,995 ————————> ?
Zip drive & Disks $350
Sampler
^ (E-Mu or Akai-)			MFPrice $1,699
E-Mu ESI-4000 Turbo Zip 6227 MSRP ||$2,149||

		* Total (as of 11/21/98) $3,260

		*0 Total (as of 11/21/98) $3,726
		*0^ Total (as of 11/21/98) $16,326
		Total Needed —————> $20,000 NO!
Digitech studio vocalist?
				————————————>

[PAGE BREAK 36]

[loose sheet folded in half with the text:]
1.Dorian
2. Conrad
3. Slicer
4. ||Mecca||. OTTO ———> Over The Top Otto fractal pattern
5. Van

Make bloody skull [skull sketch]

734		996-9218

[PAGE BREAK 37]

[same sheet unfolded, revealing a three-dimensional crucifix a la Fold Up The Cross; sketches of a (raccoon?), bunny and squirrel; portrait sketch of Andrew with hair over his face; portrait sketch of Andrew missing half his face skin, eyeball protruding and blood dripping; also two circles that are crossed out at different angles - like Ø but also one with a \ )

[PAGE BREAK 38]

ANDREW W.K. ||never let down|| -> WE WANT FUN
[pencil drawing of dreamboat jock Andrew reclining while holding basketball, wearing blue and red track suit and yellow wristband, brown locks flowing freely]
^||Maybe|| no basketball? ————> NO MAYBE
										May 2 1998
[post-it note with the text] RA# MJ0331 Write on invoice 
Use mailing label for returns write on mailing label t.c. electronics 800 612 5877

[PAGE BREAK 39]

Andrew W.-K. Image Look		4/7/1999
[a drawing of all-white clad dirty Andrew with the watch, sneakers and mic-down-jeans that we would all come to know and love.  Notes include:]
Dark brown hair
Dirty white t-Shirt
Covered in filth
Contemporary digital watch
Mic tucked in pants
Dirty white jeans
Urine and puke and blood and sexual stains
Contemporary athletic shoes
[Andrew W.K.’s autograph]

[PAGE BREAK 40]

2/20/99
[a drawing of Andrew standing in front of a large piano keyboard, wearing a watch and the clothes described (but shoes are not detailed)]
Extra write fluorescent yellow/green tank top?
Blood spattered white pants?
Shoes or Boots?

[PAGE BREAK 41]

||HIGH FASHION||							March, 1999
MORE LOOK AND IMAGE IDEAS And clothes…			
General image should feature long, dark brown hair, but not too long.  Stereotypical “rock music singer”. Make it so anyone, from a young child to a grandmother could say, “that’s a rock man” - “that’s a rock singer.”
Only wear Athletic shoes!!! Cross trainer, running shoes, basketball shoes.  Contemporary only!!! Shoes should clash slightly with rest of his look. Function over form! (DO NOT WEAR C.T.’s!) (ocassionally [SIC] contradict all of above)
Sunglasses or eyes? —> or both? Off and on “see what you aren’t looking at.”
EXTRAS: flannel shirts, sweatshirts, sweatpants, plain baseball hats
Hats would definitely fall off during performances.  Should he embrace this?  Throw hat out to audience?  Tradition?
Clothes should primarily be timeless, perpetual, consistent, and pure, but not Entirely.
Clothes should be very basic and easy to find/buy/replace and maintain.  Never should have to worry about cleaning or protecting clothes - NO “fancy” “wardrobe”!
Clothes should be instantly recognizable but disposable. 
“T-shirt and jeans” kind of thing, but with a twist of some sort.
Bright colours in photographs, bold colour choice, brazen
Black backgrounds, no location in particular
Walking in anonymous/generic locations.  Relatable.
Maintain filth.			(occassionally [SIC] contradict ALMOST all of the above)

[PAGE BREAK 42]

Be able to be seen and identified easily
Stand out without saying “look at me” with the usual clothing loudness.
Be recognizable and blow but without any glitz or rhinestones.
All grey clothes? Between black and white? Be both? BE BOTH.
Blank outfit, sacred, pure
Bright colours, rainbow?		|BASIC JEANS + T-SHIRT ALL IN DIRTY WHITE|
Prism —> full spectrum?		|(Levis 501s and Hanes or Fruit of the Loom)       |
White
White clothes would show up well on stage and in typical “rock music” environments
White clothes has a “blank canvas” look and also “open for projetion [SIC] feeling. Let the audience project onto the plain white clothing. Like a movie screen. Real life person movie.
White clothes also will showcase stains and dirt and filth really well. Should take full advantage of this.  IT’ll be easy to look SUPER filthy.
Always wear a watch - what time is it? (Cheap but durable watch)
Never take off shirt!!! (Occassionally contradict all of this…or not)

[PAGE BREAK 43]

[smaller A5 scrap of paper]
TATTOO IDEAS
||All skulls? Covered in many different kinds of skeleton tattoos? Super violent and gory?||
Get meaningless tattoos that don’t “express” or represent anything other than “meaninglessness” and “expressionlessness”. A tattoo that represents nothing.  Not even a basic shape. Maybe just a line? Dot? The simplest tattoo possible ——>

[PAGE BREAK 44]

[other side of the same piece of paper]
Tattoos should be easy to fake, easy to cover up, easy to replicate.  At the same time they should be very specific and unique but not “loud”.
Lines on arms and ends could be best.  Just a plain black line - different lengths and thicknesses?

[PAGE BREAK 45]

[two sheets of A5 yellow paper side by side]
Try to smell really intense
Smell like urine
Smell like stomach acid
Smell like rotting vegetables

Never wear perfume or deodorant

Have style but don’t be stylish

Do not follow fashion trends but ocassionally [SIC] participate in fashion shoots - but more traditional “dress” clothes.

Make your main outfit include some small details that reflect modern consumer culture - like contemporary athletic shoes, contemporary watch, sunglasses, etc

Take a timeless approach in general.  Make my clothing completely recognizable but also totally generic and plain.

[next sheet]

Make it easy for me to look like Andrew W-K.				}
Make it easy for ANYONE to look like Andrew W-K.			}
Make it easy for anyone to DRAW Andrew W-K.				}KEY!
Make it easy for anyone to picture Andrew W-K in their head	}

Never wear anything too flashy.

(Occassionaly [DIV], contradict some or all of the above)

[PAGE BREAK 46]

[other side of one of the sheets of A5 yellow paper]

S.K. -> C.W.O. ALL WHITE CLOTHES
Mr. CLEAN -> MR. DIRTY

[PAGE BREAK 47]

Payment Plan							5/15/99
Borrow $20,000  ———> ???
Repay in 6-7 years?
5% Interest annual (applied at end of each year)

$278 per month

1st (First) Year 		$3,333 (paid)
				$16,667 (balance)
				+	5% (interest)
				$17,500 (new balance)

2nd (Second) Year 	$3,333 (paid)
				$15,167 (balance)
				+	5% (interest)
				$14,875 (new balance)
									} see next page…
3rd (3rd) Year 		$3,333 (paid)
				$11,542 (balance)
				+	5% (interest)
				$12,120 (new balance)

4th (Fourth) Year 	$3,333 (paid)
				$8,787 (balance)
				+	5% (interest)
				$9,226 (new balance)
								———————>
[PAGE BREAK 48]

5th (Fifth) Year 		$3,333 (paid)
				$5,893 (balance)
				+	5% (interest)
				$6,188 (new balance)

6th (Sixth) Year 	$3,333 (paid)
				$2,855 (balance)
				+	5% (interest)
				$2,997 (new balance)

7th Final Year 		$2,997 (paid)
				$0 (no balance) ——————>  NO! Money lost!

A: we can discuss with managers about a better long term $$$ plan. SM

[PAGE BREAK 49]
[loose sheet of A4 paper]

PRE-HISTORY/ORIGINS BACKSTORY:			7/9/1999
Invent “secret” backstory. Try to make it seem like I wanted to have people think that I was some sort of false “child prodigy”. Classically trained musician?  Violin?  Flute?  Make it seem like the “real” Andrew W.-K. (False actors) actually learned how to play music really young (4 or 5 years old?) Some kind of traditional instrument, piano? NOT GUITAR!
Also set up scenes and false-genuine stories about crass and disturbing “avant-garde art” background. Pretentious associations, with harsh and aggressive immoral art counter-cultural fringes.  Frightening and belligerant [SIC] tones and attitude.  “Extreme” and “experimental” underground dark shadow.  Then do the total opposite.  Make it look like a massive ultra-orchestrated multi-dimensional and very “mainstream” coordinated explosion of purpose.
Major label music, big TV appearances, corporate advertising and brands, glossy magazines - total over saturation and throat-shoving.  And make it look like all of it was an intentional plotted “about-face” rather than a natural organic development.  Everything should look, sound, and feel deeply synthetic and anti-natural and paranormal and orchestrated (but at the same time people should wonder if it really is all an orchestrated and scripted plan, or they’re just intended to think that it’s all deliberate and calculated - perhaps even after the fact).  Maybe there was deliberate planning to make it appear as though there had been false “deliberate planning”?
The entire “mainstream” launch should have the feeling of an archetypal “overnight-success-story”…Andrew W.-K. should seem like it “came out of nowhere” and then on deeper examination the audience could “discover” the carefully “hidden” planted past and “dark origins” and contradictory and transgressive “backstory”.  Should feel upsetting in a profoundly exciting way - like hardcore pornography.  No “slow-climb-up-the-ladder” - just appear yo appear like magic.  Must never feel “real” or “false”. Be between and be both.			—————————>
		*call back electrician! Before 5pm!

[PAGE BREAK 50]
[other side of the loose sheet of A4 paper]

Assemble or invent “big team” to make it look like Dad and a crew of lawyers pulled the strings and financed the push (use this angle to cover up the “talent-scout” and “model-search” payments/contracts, as well as the original Florida and Los Angeles situations.  Make it seem like Dad actually did NOT do all the work behind the scenes.  Should pay-off all “no-show shows”, etc.  Once the “Andrew W.-K.” First “moves to New York City” make it appear like there was no audition process (no multiples). It should look like there was only ONE “chosen one” for the role. Don’t talk to anyone except S.M. about how The Louise Harland Corp. actually started.  The office doesn’t even need to know.  They don’t need to make sense to themselves.  It should always seem like I’m never there - absentee.  There should also be multiples (all me), that only look like pawns in a “game” (this is NOT a fucking game).  This is NOT consciously about sex.  Use agreement with top handler at Corp. to trade power-play payments for access to “favors” and funding to pay off label (Uni/Sony), media budget, TV airings and time slots, and the rights to the “signing-away-your-rights” ploy and storyline w/(privacy).  Later trade-off should make this risk worth taking.
Launching in foreign country could be a good idea, but only if we can secure and coordinate same media orchestration and “overnight-success” appearance/asthetic [SIC]. Do test-run of TV saturation, possibly in Asia?  Or UK could be better due to language/English.
Initial test-run should also preview prop plants regarding “evil origins” and dark “bad guy” frightening elements.  Try to orchestrate an unofficial (off-the-books) collaboration with a goverment [SIC] agency (foreign), that can create the appearance of controversy over some aspect of the initial “out-of-nowhere” presentation.  This should (hopefully) all work to give the audience a subtle feeling that “this-isn’t-adding-up”.  Past and present shouldn’t feel like they’re lining up.  First waves of hypocrisy and incongruence should come from overseas test run/trials and run-throughs.  Coordinat [SIC] L.H.C. team to manage both sides (to be the “enemy”) and to win/lose.

[PAGE BREAK 51]

Roland JP8080 etc…					10/30/99
ORDER #P0403997

	||GRAND TOTAL $3,977.60||

	||FIRST INS. $1,977.60||			} What is this?

	GRAND TOTAL $3,071.22
					#1Z1952X30211275254
Roland EP-9 Digital Piano				       290
								       334
Order #P0404076 $949.98
					USAAVISA $121.18

2-Order Total		$4,021.30
minus Visa —> NO! 	     121.20

First payment
On Chase M.C. —> NO!	$1,900.00
	5 monthly- 		$400.00 each

Rack-Mount Screws
#P0415019

[PAGE BREAK 52]

To get as of 12/8/99

	Finalizer/Mastering				NO!
	t.c. electronic DBMax (List ||$3995.00||) sweet-water
or {	t.c. electronic Finalizer Plus 18-3006 $2,349.98 T.M.F.

Sampler
E-MU ESI-4000 TurboZip6227 T.M.F. ||$1,699|| NO!

Drum Module
Alesis DMPro T.M.F. # 70-1502	||$1,699|| NO!

Effects Processor				?	NO!
Eventide DSP4500 sweet water #DSP4500  ||$5,100.00||

Roland JP-8080 T.M.F. 	$1,299.99 

||[drawing of an arm with hand flashing the two-finger peace sign]|| :( NO!

Need to discuss
		SM

[PAGE BREAK 53]
[A5 sheet of yellow paper, top left corner slightly folded]

LOOK AND IMAGE 				3/9/99

Pseudo-consistency
Pseudo-reliability
Pretend trustworthiness
Pretend stability

Always look essentially the same.

SANTA CLAUS

TRY TO LOOK…
Superhuman
Inhuman
Superhero
Like an alien
Like a statue
Look very regular
“run of the mill”

Look like a dirtbag
Don’t look too good
Be Extremely dirty
Covered in filth
Dirty fingernails		—————————>

[PAGE BREAK 54]

TO GET AS OF 12/11/99
IN ORDER OF IMPORTANCE

New hard-drive $2,000 	OK

Sampler E-Mu ESI-4000 TurboZip $1,699

DSP4500		$5,100.00
				OK

— IF NECESSARY
	t c electronic DRMax		$3995.00
	Alesis DMP60			$699.99	
							NO!

M.F. Order

1/4” to RCA x2 	330138
Bass String	100377
Keyboard Covers 549211	xlarge (backordered)
					large
Windscreen	421010	Red
Neuman P-pop	—
		
							$52.90
Order # P0469415

[PAGE BREAK 55]

Chuck Noris
Total Gym			12/16/99

1(800) 856-1500	9-9pm 7 days
		First payment	$103.74
						OK
		12 months		$53.79
GET FREE WEIGHTS TOO (10 lbs 20 lbs 45 lbs?)

[next paragraph in purple Texta but seems to be Andrew’s writing]
1/26 M.F. ORDER
Red Strat Case		$201.93
ORDER #P0487672

	WORKOUTS WITH TOTAL GYM
WALK AROUND THE BLOCK 13 TIMES (FAST!)
No more running!  Get more muscle and gain weight! Eat more food! ?
GOOD FOODS:
PASTA (EAT WHOLE BOX with WHOLE JAR OF SAUCE)
MILK
PROTEIN POWDER FOR SHAKES? Need Blender (Too $ expensive?)
MEAT FROM FRESH TORTILLA (chicken and beef)
RICE AND TUNA (from can)

[PAGE BREAK 56]

 CUT YOUR “I” OUT

Have cuts on face
Cuts on forehead bleeding
Inexplicable injuries
Bandaids surgical tape on face

[sketch of Andrew with left eye crossed in, gash in forehead a la third eye, bleeding nose with blood dripping from chin, bandaids on each cheek]
CROSSED EYE———————> CROSSED “I” ———————> SELF-NEGATED
CROSSED OUT

[PAGE BREAK 57]
[most SM notes have been traced over by Andrew on this page]

CREATIVE VISION NOTES
(DON’T TALK ABOUT THIS!)
									12/18/99
WHAT YOU’RE DOING 
	    NOT
	IS ^ EVIL
				And Star Wars hero themes? Dark side power? 
				Light? Like? Robot inhuman HAL
EYES WIDE SHUT AND^ 2001———> S.K.	YES
Make my work feel like Eyes Wide Shut, but REAL. Make it feel like a movie in real life.  Make the whole thing a living movie Go beyond a story into real life.

REAL LIFE MOVES
REALIFE MOVIE
REEL LIKE MOVIES				This!
MAKE MY MOVIE REAL

ANDREW W.K. IS REAL			Again…
							This!
A MOVIE THAT IS REAL

MAKE MOVIE MOVES THAT MAKE ME REAL
				A MOVIE THAT ISN’T A MOVIE
				A PAINTING THAT ISN’T A PAINTING
(A REAL LIVE BOY)	A PERSON THAT ISN’T A PERSON
				BE SOMETHING THAT ISN’T

ANDREW W.K> FEELS LIKE REAL LIFE.

[in the border of this page] A MAGIC TRICK -> A REAL MAGICIAN
I AM A MAGICK TRIC ——> TRICK MYSELF INTO EXISTING

[PAGE BREAK 58]

TONES AND ATMOSHERE [SIC] NOTES - CONT…

Make my existence feel like a movie —> a cinematic atmosphere
Does a movie exist outside of itself?

Make something that DOESN’T exist

Real vs fake —> A fake real person?
Organic vs synthetic
Authentic vs phony - a real synthetic?

I am not a character
I am a real live boy	———> make this explicit?
I am not a person			||Yes|| NO.
I am a feeling

Never describe things as a character or a story or a concept (occasionally contradict this) Why?

A fake fake —> O.W. <— H.G.W. <— CI —> HH
A fake hoax?
Do not be faceless or anonymous, that’s too easy.  Be hidden in plain sight. this
Be completely exposed and veiled at the same time!!! BOTH
All ———> ALWAYS BE BOTH!!!

[PAGE BREAK 59]

ALL	WAYS	BE	BOTH.

[purple Texta drawing of the back of a guitar with two “JORDAN” logos overlapping on the body, which is also crossed out] [SM has circled the crossing out and written “?”, which then has an arrow pointing to it leading from “???”

This is good.

Let’s talk, SM. call me!!! <——————————— Why?
										|
										|
										?
						||NO|| MORE OVERT SPORTS THEMES?
										
											12/10/99

[PAGE BREAK 60]

Life more weights!

[some relatively parallel pencil strokes throughout this page, also the bleed-through of the purple Texta guitar from the previous page]

[PAGE BREAK 61]

									12/19/99
[pencil sketch of the Pizza Guitar] [circled with a big YES!]

[a different purple Texta sketch of a guitar with two JORDAN logos and the number 23.  This is all crossed out with black pen] Too obvious Needs to be smaller/more lowkey!

||23|| Why? And what is this guitar? [Andrew and Steev cross out each others “No!”s a few times each, with arrows leading between them]

[PAGE BREAK 62]

[in an irregular pentagon shaped like a long rectangle with the top light corner chopped off] make a homunculous [SIC] ?

[again, the purple Texta guitar from the previous page blends through, inverted]

[PAGE BREAK 63]

[on this page some red bleeds through from a previous drawing of Andrew - the third eye forehead slice, the outlines of his eyes, and the blood pouring from his nose over his lips]

CUT ON FOREHEAD P GLAD?
MIND’S EYE SLICE OPEN CUT OUT

LOBOTOMY
LAB LOBOTOMY

BLOODY NOSE
POURING OUT
FROM BRAIN
DEATH

[PAGE BREAK 64]

“MORE GEAR” TO GET 				12/19/99

Muscians [SIC] Friend
H3000 D/SE FX Processor
#1831023			$2,299.99

||Finalizer Plus||
||#183006B.    ||		$2,319.99

Behringer MDX2200 Compressor
#182403B			$259.99
							} let’s discuss SM
DBX DDP
#183546B			$499.99

DBX 2215
#183562B			$429.99

DBX PatchBay
#183536B			$129.99

SWEETWATER
Antares ATR-1		
#ATR1			$999.00

24 Rack			$300 (?)
#DSR24

[PAGE BREAK 65]

[drawing of an eye with a teardrop]
NEW SOLO NAME IDEAS/ OTHER WORK

||Band name|| or solo?
(Make it a solo act but with the sound and presentation of a band?) <-||YES|| NO!
A. Wilkes-Krier AWKAFWK -> Andrew Fetterly				                 go solo!
||WilkesKrier||	        LUO I
Wilkes-Krier	       WNRL
Wilson-Knight	        A   KL
||White Knight?||       Y
			        S
||Fetterly||? Wilkishire / Wilkeshire?
				Wilkrier?
	need to clarify	Vilkrier
||Wilkes-Krier||		Vilker
Wilkes ||Andy|| Wilkes	Vilks
Andy W. ||Andy|| Krier	||Vilk||
Andy K. Andrew ||Krier||? 	||Crier||
||No|| YES	Andrew Career ||Cryer||

Make it seem like “Wilkes” and “Krier” are made up names? Is this name just too long to use?  People are going to mispronounce it - do I embrace that?  Think of other names or a way to make the mispronounciation [SIC] work?  Wickskreer Wickscareer Will kill for real?
||Andy|| Wilkes-Krier				Talk to Dad about this!
||Andy|| Warhol			||ANDY|| W-K
||Andy|| Kaufman		ANDREW W.-K.		OK
		Approved —> 	ANDREW W.-K.

[in the margin of this page] TAKE TWO existing but dead Andys that ||magically|| match (your) name and synthesize and transcend…

[PAGE BREAK 66]

[scrap of yellow A5 paper, written in green pen]
ANDREW:
Start out with at least two other actors, for me.

Have them be you for the first 4 or 5 years and then you can start doing Andrew W.-K. But only if you keep multiples in the background.

Do NOT hog the spotlight, just make it look that way!

Let the others be you!  Just deal with this, Andrew. You can be you later down the road, but only if you pass the S.M. test for the first four years.

Doing this will be the most challenging, confusing and painful part of your start in this work.  But it’s for your own good in the long run, SO RULE IT!

[PAGE BREAK 67]

PAYMENT HISTORY
	<——$167	PQ365140
Dec. - Apr. May			MC
Nov. 	  Mar. Apr. 25th		VISA
	<——$365
		A: let’s discuss SM

Expenses now
RENT $650/month
FOOD $100/week
UTILITIES $?/talk to landlord
SUBWAY $5->$15/week depending

Talk to Dad about creative director

[two post-it notes on this page, the first, written in red pen reads:] Andrew: You are pretentious and passive-aggressive and studid [SIC]. SM

[the second post-it note written in pencil reads:] Call about the SM test Monday 9:30am 212 714-4646 Ask about actors and singing contract

[PAGE BREAK 68]

[eyeball drawn over checkerboard pattern that is dripping at the bottom] 12/23/99

||L<3VE…|| NO

[big blood-dripping] MUSIC

BLOOD DRIPS —————> Have idea, call me 
BLEEDING
BLOODBATH
SOAKED IS BLOOD?	[sketch of splatters on page]

||Semen||
Come?
Coming
Around

[PAGE BREAK 69]

NEW XMAS ’99 LIST		BUY NEW NOT USED!
EVEN MORE GEAR TO GET:
						* = necessary 	^ = maybe
* Finalizer Express $999						OK
Muscians [SIC] Friend #18307		MOM	1U

* Hard Drive 19GB $1,600			MOM		OK

* dbx DDP Digital Dynamics Processor $499.99
Muscian’s Friend #183546C		PAID			OK

||^Eventide H3000 D/SE $2,299 			  ||
||Muscian’s Friend #183102C		ME MAYBE||

||Alesis MEQ230 Graphic EP #229 	||
||Muscian’s Friend #182521C		||

* dbx 2215 Dial 15 Band EQ $429.99 			OK
Muscian’s Friend #183562B PAID

* dbx 286A Mic Preamp $299.99	1U
Muscian’s Friend #183541B		MOM		OK

||* dbx PB-48 Patch Bay $129.99  ||
||Muscian’s Friend #183536B	   ||

||* OBRK Oak Rack Mount $344.50 ||
||sweetwater OSR24			      ||

[PAGE BREAK 70]

||^ SPL Vitalizer $499 				   ||
||sweetwater #VITALIZERJACK ME MAYBE ||

If possible:

* Antares ATR-1 $999 <——?
#ATR-1 sweetwater

Alesis DM-PRO $699
Muscian’s Friend #701502B ME MAYBE
						OK
				4/10/99
Order #P0569023

dbx 15 band EQ #183562B
dbx DPP		 #183546C

		Providian MC $925.12
		Providian Visa $60.00

dbx 266XL Compressor/Gate		1U
Muscian’s Friend #183515	 $149.99 MOM

Rack from Dr. Sound			      MOM

[PAGE BREAK 72]

[full page portrait drawing of Andrew with bloody nose and forehead slash, this is the drawing that bled through the paper several pages ago with the red from the third eye forehead slice, the outlines of his eyes, and the blood pouring from his nose over his lips.  The background is coloured in yellow.]

[PAGE BREAK 72]

||429.99	Providian M.C. $900 ||
||499.99	Providian Visa $100 ||
||299.99||

Square Drumset	{Cube}

Candybar Guitar		Nerd’s Guitar

Pizza Guitar <—————YES
			Eyeball Guitar?

Dr. Sound		(212) 334-5478
		$200 deposit
11am

Global	$1300
		each addittional [SIC] $965

Bring machine tommorrow [SIC]
10am

[PAGE BREAK 73]

NEW ORDER FOR MULTI-FX

Alesis Q20 MultiFX
MF#246013B		$799.99

Behringer DSP1000 Virtualizer
MF#182409B		$209.99

Digitech XP-300
MF#150167B		$199.99
				$1209.97
[all of the above is crossed out in purple with a big circled NO!]

Cables
MF#332000C
	4 X 1’ @ $3.99	15.96
	4 X 3’ @ $4.49 	17.96
	4 X 6’ @ $4.99	19.96
MF#330050C
	2 X20’@$11.99	23.98

[PAGE BREAK 74]

Order for Multi-FX

Sony DPS-V55			Order#
#180957C		$449.99	P05612

Zoom 1204 Studio		1Z1952X3021465789
#181946C		$199.99

Digitech XP-300
#150167C		$199.99

Digitech XP-100
#150165C		$169.99	Approved
						SM
Cables 		$77.86

			$1,097.82

[yellow post-it note on the bottom of the page with the text:]
Ask Dad about $ and contract
Remember new Light bulb
not binding	70 30 split?

[PAGE BREAK 75]

						1/1/2000
CC Balances

USAA $200 / 300 / 150 / 100	125

Citibank $970 / 30

Chase $1880 / 220 / 120		100

First Card $500 / 0

Visa Classic $765 / 272		250

Master Card $986 / 13

USAA $200 / 290
Chase $938 / 60
Pro. Visa $776 / 224	} Is this
Citibank $982 / 17	} paid?
First Card $499 / 0
Pro. MC $986 / 13

[two drawings of a left arm flashing a thumbs-up] Thumbs up?

[PAGE BREAK 76]

1/1/2000	2000 [each of those 0s are drawn as eyes] ——>(ONE YEAR TO GO!!!)
[simple sketch of planet Saturn] NEW YEAR VISION STATUS
[BLOOD written in red bleeds through from the next page]		[simple sketch of a smiley face with an arrow for the left eye, X for the right eye, and cheeky smile. This is crossed out on purple with an arrow pointing to it and No!]

98 Moved to NYC √
98-99 Build Recording System 	√
98 -> Start Working Out		√
98 -> Gain Weight			√ (in progress)
99 -> Pay Off Debt			√ (in progress) [this is crossed out in purple] PAID!
98 -> Commit To Music		√
(New) Construct Concept		√		OTHER NOTES:
(New) Outline Aesthetics		√		-come up with final
(New) Map Out Goals		√		outfit/look/image
(New) Set Plan For Goals		√		-Do NOT change look
Start Recording More		√		or image anymore!
Hire Singer/Band			√		-TRY to make more
Make Contacts				√		friends!
Find Lawyer				√		-TRY to not be
Find Manager				√		so shy!
Hire Image Consultant		√		NO FEAR!!!
Start Playing Shows			√		KILL!!!
Build NYC Interest			√
* Get First A.W.K. Release Out 	√  * (Dad Bulb)
Get Second A.W.K. Release Out √
Get Third A.W.K. Release Out 	√
* Get Major Label Record Deal 	√  *
Record Debut Full Length Album √
*** Release Album By 2001	√ *** √

DID I DO IT?  {X}	{ }	[the cheeky smiley face from above is drawn here in 		     yes	no	purple, then again crossed out in purple] SM Counts

[in the border of this page, from “start recording more” down, is a descending arrow with the text:] SAY YES TO EVERYTHING
[there is also some more red bleedthrough from the bloody nose drawn on the other side of the page]

[PAGE BREAK 77]

[scrap of loose paper]
Skool sux
What’s up?
Can you leave me alone?
Can you burn down a fire,
Can you shatter a stone?
What’s up?
Skool sux
I’ll break all you’re [SIC] bones
And leave you for dead
To rot in the ground…
		…you’re so old

[PAGE BREAK 78]

1/2/2000						HIGH-QUALITY PHOTOGRAPH
BLACK BACKGROUND			BLOOD
							HAT?
							AXE?
[detailed full-page portrait drawing of Andrew as skeleton, retaining hair and eyes, blood dripping from nasal cavity down jaw to visible spine - this is the drawing and “BLOOD” that bled through the prior page]

[PAGE BREAK 79]

[this page is filled with Andrew practising his AndrewWK signature, but the strikethrough at the end has not formed yet, sometimes underlining the signature.  The final signature is “AndrewDisney” in the Disney font.  There are also several drawings of squares, cubes, a cross formed from six squares and a cross formed from six cubes.  The entire page has a few large Xs seeming to indicate that it has all been crossed out] SOLID METAL CUBE?
				BLACK BOX
					BLACK IRON ||BOX|| CUBE

[PAGE BREAK 80]

[more signature practice, including one bold iteration of just AxWxKx]
		7	7	777
		7	7
		7	7

NEEDS TO BE MORE ANGULAR						LIKE A
SHARPER “A” [‘A’ morphing into a star over five iterations]		STAR

[PAGE BREAK 81]

[more signature practice, getting very close to the final signature of today.  The final iteration on this page is circled in purple with] good work!

Need to be able to write FAST!!!

*Note:
Very important that line strikes through the entire Andrew W.K. name 
Try to line up the strikethrough line so it crosses the middle bar of the letter “E” and also makes the final leg of the letter “K”.
Important that the autograph looks crossed out.  The final line completes the name and negates it!

[in the border of this page is a strikethrough circle sign of a strikethrough circle sign (i.e. no ‘no’s), an X with the right half shaded in, and a crucifix with the crossbar shaded in with a circle around each arm thereof.  Also, appropriately crossed out:] CROSSED OUT

[PAGE BREAK 82]

[this page is mostly iterations of the ‘final’ Andrew W.K. autograph, a few scribbled out, with a purple grammatical brace around most of them] important

[at the bottom of the page, Andrew seems to be practising his own handwriting font, making it as angular as possible.  All exclamation marks have an x at the bottom rather than a “.” ]		HI!!!
					HIGH!!!
MY NAME IS ANDREW WxKx  1 2 3 4 5 6 7
AND I LOVE MUSIC!!!		8 9 10 11 12

THIS IS HOW I WILL WRITE MY WORDSx

[PAGE BREAK 83]

[this page seems to be more handwriting font practice/honing. Again all exclamation marks have an x at the bottom rather than a “.” ]

ABC ABC ABCDEFGHIJKLMNOP
QRS5TUVW/WXY/Y/Y Z Z         P
Q
A B C/C D E/E F G/G H I J K
L M N O P/P Q R S T U V
W X Y Z !			OR ?  ?[this and all following ?s have an x at the bottom]		more square or more spikes and triangular?	
		
HELLO!
MY NAME IS ANDREW W!K?
HELLO!, MY NAME IS ANDREW W!K?
HELLOx
MY NAME IS ANDREW Wx-Kx	W.-K.
||I’M FROM HOLLYWOOD||	(exes or dots and dash?)
I’M FROM NYC		FROM: [colon formed by exes]
YOURS TRULY,
YOURS FALSELY,
YOURS ALWAYS,
YOURS ALL WAYS,
[autograph]
I LOVE MUSIC!
AND MY NAME ISxxx  —————> good
HELLO
HELLO			should the autograph be more fluid? NO.
NOTE: (my)
Make the handwriting look very stuff and as though it took great effort.  Lots of difficulty.

[in the margin of this page]: MAKE MUSIC OR DIE!!! MAKE MUSIC OR DIE!!! I LOVE MUSIC!!! NEVER LET DOWN!!! FOREVER!!!

[PAGE BREAK 84]

Be associated w/ Grocery stores	Fast	and Pro-sports? Candy?
				^			^		^			1/3/00
			ALIGN MYSELF WITH JUNK FOOD
USE			Food that everybody likes	
MORE		PIZZA	TACOS 	||NACHOS||	||CHEESEBURGERS?||
COMPUTERS
3D
DDD 		[pizza] F [taco] M	[sausage] HD	PRO
[each D in a box]		DA{M}E				SPORTS BASKETBALL
							—————>	STADIUM ARENA
Join-	{ Fame = What everybody loves				ANTHEM
|	{ Infamy = What everybody hates
YES							EVIL
	Riddle and false with things everybody hates.  Make tension and conflict 	between being loved and being hated. Make music my old “friends” won’t like.

-Do what I don’t want to do
-Go where I don’t want to go
-Talk to people I don’t like
-See what I don’t want to see
-Hear music I don’t enjoy
-Feel feelings I strongly fear
							NO!
^(Mind Soul)	(Workout Exercise)^

[overlapping] )(
[Jesus fish with teeth]
[drawing of (skinless?) Andrew head without lips] ——> Looks like a puppet
												That’s good

[PAGE BREAK 85]

MAIN THEME ———> URGENT!!!
(Public/Explicit/Conscious)			1/4/00

Have a main theme ---> a main external theme. A very blatant theme that contrasts and conceals but also compliments a set of hidden internal themes.
				Loud mental impression
A simple and LOUD^ main theme. 

Super commonplace and generic, like a calling card.  ||A-NON-MF||
A non-visual logo.
Something that is timeless and has always existed for people in a positive way.
Something you can glom onto and attach yourself to, and eventually overtake.
Goal would be that you and this theme become inseperable [SIC].
Theme should provide the benefits of lowest common denominator.  Easy to grasp.
Meaningless but open to interpretation and misinterpretation.  Fluid and flexible.
Instantly grasped.  Easily understood and accessible.  Anyone can get it. —>

[PAGE BREAK 86]

[in large block font:] DON’T BE LAZY [the Z any Y seem to be rotting, with stink lines and flies]
Anyone can relate to it, even if they don’t like it.
Make it undeniable and inescapable.
* KID FRIENDLY but also VERT ADULT *
			^<————>^
Dangerous but also naive and lite.  Uplifting but also innocent and kind of crazy, scary, chaotic.

Something that instantly connotes good times and electric energy.

First day of summer feeling.
Last day of school feeling.
First time making-out feeling.
Thrilling, euphoric, orgasmic.

Top of a rollercoaster hill at night, about to go over the edge feeling.

Main external theme should be single word - not a phrase.  Not a slogan.  It’s an active word.  A power word.  An energy word.  Word that screams out in a super blunt way…

[in the margin of this page] Always encourage the audience ||to be plausibly positive|| [this is a guess on my part, very hard to read]

[PAGE BREAK 87]

DON’T BE LINEAR!!! [exclamation marks dotted with x]
		WORD
MAIN THEME ^ IDEAS LIST
[all entries are crossed out except fun, party, jump, come and slamming)
				NOW good too
LOVE			KNOW
KILL				TRIUMPH				party
LIFE				TEAM				is	
FUN <-use this		SCORE				BY FAR
DANCE too		DRIVING				the
NIGHT somehow 	MOVING				best
NIGHTTIME		MOVIES				SM
||SEX|| ||SEXUAL||	||ARRIVING||
REJOICE			COME
BOUNCE			COMING
JUMP			DESTRUCTION
STAB			CREATION
||MAKE [illegible]||	RAGE
CRAZY			YELL
CELEBRATE		SHOUT
*PARTY			||GROW||
GLORY			SLAM
VICTORY			SLAMMING maybe?
DELIGHT			BRAIN
LIVE				||DAMNING||
DIE				WHY
SHOW			MAKE
GO				MAKING

[PAGE BREAK 88]

[in 3D block letters] PARTYING NOW
Party
Party
Partying
Partied
Partier
Partiest
Party 	Partier parties are the parties
Party		Now —> HELLO HELLO
Party		Now —> MY NAME IS ANDREW Wx-Kx
Party		Right —>AND I ENJOY PARTIES!!!
Party		Now —> AND I LOVE FUN PARTIES!
Party		Now AND I LOVE TO PARTY!!!
Party		Now AND I LOVE TO PARTY NOW!!!
Party		Now AND I’M PARTYING NOW!!!
Party		Now IT’S TIME TO PARTY NOW!!!
Partying
Partying	||WHEN|| IT’S TIME TO PARTY
Partying	IT’S TIME TO PARTY NOW!!!
Partying	PARTY PARTY PARTY PARTY PARTY
Partying	PARTY NOW!!!
Partying	FUN PARTIES NOW!!!
WHEN IT’S TIME FOR PARTYING I
||WILL|| AM PARTYING NOW!!!
I AM PARTYING ALWAYS NOW!!!
HELLO!  MY NAME IS ANDREW Wx-Kx AND WHEN IT’S TIME TO PARTY, I ALL WAYS PARTY NOW! PARTY NOW! PARTY NOW!

[in the margin of this page, the word ‘PARTY’ is written six times, the word “PARTYING” thirty-five times.

[PAGE BREAK 89]

[in large shadowed block letters] VISION PLAN	      20
ANDREW W.-K.						1/5/00
PRIMARY CREATIVE OBJECTIVES:

Carefully craft my own (non)existence. (Ultimate pleasure of possibility)(Liberation from understanding)
Simultaneous edification of the ego and eradication of the ego (magic trick disappear)
Make the audience feel like me.
Feel like me.
Make the audience like me.
Make the audience me.

Make my concept big enough to contain within it all my other concepts, and so that it becomes such a large concept, it can actually become as large as reality.  It is just reality.								||I DON’T KNOW     ||
									||WHAT THE WORD||
Thesis - I exist							||PARADOX MEANS||
Antithesis - I don’t exist
Synthesis - I both exist and don’t exist <———between
My non-existence exists.
Synthesize the synthesis.  A simulated synthesis.
An imaginary synthesis.  A prented [SIC] idea.
A pretend concept.  A hoax meaning.

[in the margin of this page:] FOCUS ON THE BLUR / DON’T BE LAZY, ANDY!

[PAGE BREAK 90]

Exist, then undo it.
Build it up, then tear myself down.
Build myself ||up|| down, then tear it up.
Undercut myself.  Cross myself out.
Unravel myself.  Undermine myself.

Andrew:
It’s time to demolish all your old fears and ||weaknesses||.  Build a new superhuman version of yourself, and then pull the rug out from under yourself.  Pull yourself down by your own ||[illegible]|| Demolish yourself all over again.  The ultimate liberation.  Never cling too tightly to ||my||yourself or the identity I built for you.  But also, don’t light too tightly to the idea of “not clinging too tightly”.  Be consistent.  Be consistently un-reliable as a narrator of your own life and conceptual vision?
Build up a pattern of discreet self-destructive decisions and “events”.  Then destroy your own self-destruction.

Break away from my old self.
Disassociate from myself.
Phenylcyclohexyl-piperidine
[in the margin of this page written in block letters, and with an arrow from the last line]: LOOK LIKE A DUSTY ANGEL!?

[PAGE BREAK 92]

[in blue pen:] Encourge [SIC] misconceptions and covertly push the perception that I’m a “bad person”. (On deep levels)
[in black pen once again:]
Make people feel like they’re ||on a|| going through a powerfully chemically processed ||adventure|| ordeal with Andrew W.-K. (But secret)

Make Andrew W.-K. Like someone has been secretly and consistently ||drugging|| hynotizing? [SIC] you for many years, without you realizing it.

Make it seem like “Andrew W.-K.” Is not my real name?

* Total ego eradication through the over-amplification/over-empowerment of ego.  Overload this with so much raw ego, it implodes.

[drawing of a ‘dirty’ “EGO” smashing a clean “EGO” with surprised eyes on a sunny day with a few clouds, a building-sized keyboard (or keyboard-shaped building) looms off to the right]
USE THE EGO TO OBLITERATE THE EGO		[ANDREWWK autograph]

[PAGE BREAK 93]
										      20
Surface plan // Shallow vs Depth - pretend depth?	1/5/00
Pick an external theme that is unassuming
Build a first layer style that appears extremely shallow. Intensely shallow. But sincere.
Make all first impressions such that people wouldn’t expect this to contain any depth.
ANDREW!
DO NOT APPEAR TOO DEEP!!!

Make the secondary layer of underlying themes gently contradict the surface.
Make things come from an unlikely place.		Unforseen [SIC] and unpredictable.
Make any eventual depth come from an unexpected source. Defy typical audience expectations and assumptions.
Encourage assumptions and then slowly unravel them.
Make all depth very easy to overlook.

Surface —> ANDREW W.-K. [each letter larger than the last]
Enter [stairway down, at the bottom is an arrow pointing into a black hole and an infinity symbol.  Underneath the stairs is a long-haired skeleton.]

[PAGE BREAK 93]

DO THIS, ANDREW:					1/6/2000
Over the long run, encourage people’s natural tendency to look for “deeper meanings”, but only encourage in a very clandestine manner.  Use blatant hints, but deny the hinting.  Subconsciously nudge the audience towards the hunch (or even full blown belief) that there is something deeper to decode in your work.
Make it seem like your work is “about something” or that there’s “something more” going on under the exterior.  At the same time, passionately insist that there is nothing more than meets the (mind’s) eye going on with any of it.
The only thing going on under the surface is the semi-pretend effort to make it subtly “appear” that something (malicious?) is going on under the surface…

“Pay ‘no’ attention to the story which is telling you to pay attention to the man ||to the|| who’s telling you to pay no attention to the man behind the curtain.”

Don’t look here, and you’ll discover another world.

[PAGE BREAK 94]

Just…[in block letters with shadow] SAY NO TO PUZZLES!!!	1/7/2000
The only true puzzle is actually a revelation disguised as a “riddle”.  A revelation that reveals that there are no revelations…only experience and pure sensation, which was always the only real true truth.  There are no “hidden truths”.  This is the lesson of enlightenment? The truth is simply a word to describe all that we experience, and the feelings/sensations we experience while “hunting” for the “answer” is the actual answer to the question.
“What’s the truth?” —————> (riddle of reality)

Andrew, remember:
Your work is not about meaning, it’s about doing - doing things to other people -= doing “feelings” in the thoughts of the audience.  The feeling of thinking about Andrew W.-K.
“What does your work mean?”, is the wrong question.
The more appropriate question is, “what does your work do? To the audience? And what does it make them do/feel/think when the work does its “doing” to them?
		Literal meaning vs. experiential effect

[in the margin of this page:] Don’t build “a world”, build thee world.  Never ever underestimate the audience.

[PAGE BREAK 95]

[Cutout bit of paper, presumably of an album cover proposal, with the remaining text:]

FONT
Andrew W.K.
never let down

Front cover sticker, silver metallic ink on white
ANDREWW.K.
	IS
||ANDREWW.K.|| cross out?

OR
ANDREW W.K>
NEVER LET DOWN

[hole]<————Off white
			Fade to white
^
|
|

<———— Thin red line…
		Glowing like neon?
			or
		Red and sharp?

FRONT COVER
[three sketches] 
[1.Andrew figure on left, chess tile floor and red filling top third or so] Repeated body image, just thin red line, checker board floor? BACK COVER
[2. Grid roof, chess tile floor and four blank human figures] Repeated Image BACK FRONT COVER
[3.as drawn in detail far above] “Basketball thing”

[PAGE BREAK 96]

[INTERNAL PRIVATE AND SUBCONSCIOUS
[THEME AND INNDER DIMENSIONAL		1/8/2000

Main focus: use long term mega-ritual to liberate the audience from the confines of understanding, and instead, submerge them, with me, in euphoric sensations of infinitely intense possibility.

Hypnotize the audience.  Hypnotize my team.  Hypotize my “friends”.
		A: This is…All stupid!
Hypnotize Myself.  En-trance to God.

Invade people’s minds.  Most won’t realize it.  The more they deny it, the deeper the potential penetration.  Once you get into someone’s head, try to engross their imagination permanently. Do not let go of them.

How can I make Andrew W.-K. Addictive? *
Addict people to Andrew W.-K.
Make people/turn people into Andrew W.K. Addicts ——> is this evil? (It’s not evil when it’s entertainment?)

TRANSCEND
	^
||DESTROY|| PSEUDO-ANTUENTICITY
	v
MAKE IRRELEVANT

[PAGE BREAK 97]

NO ||E||YES		DON’T DRINK BEERS DDB
||W.-K.|| OR ||WK|| OR W.K. ?		||DAMN           ||
							||BEER	      ||
							||DRINKERS? ||
W.K. = [all entries on this list are crossed out except Who Knows?]
			Walter Kronkite
			Winter Klondike
			White Knight
			Wiz Kid
	*		Who Knows?
	^		Women Kum
* = best		Want Kicks
			White Killer
			Wolf Killer
			Wonder Kinder
Stop hanging	War Kingdom
out and start 	Wet Kiss
working harder	White Knuckle
			War Karma
Practice more.	Wolf Kid
			Wizard Killer
ANDREW WxKx
WHO KNOWS? [this and the next ? Have an x for a dot] Who knows?

||Don’t|| Smoke Grass!		[autograph]
||No|| Stop Grass -||no||		[another autograph]
||Never|| Smoke Grass		PARTY NOW!
Never Drink Beers [an arrow back up to DDB at the top of the page]

[in the margin of this page] N.D.A.B. = Never Drink A Beer

[PAGE BREAK 98]
					Call Frank V. @ 4pm 1/9
[in large block letters] THIS IS N [inside this letter:] yes it is not Andrew, you are projecting O [inside this letter:] you are projecting again T [inside this letter:] you are it. and you are! [arrow down to large text middle of the page, all crossed out:] THIS IS ||NOT|| A FUCKING GAME [arrow to a large circle to the right of this] ||This is NOT a fucking game|| [arrow up to a smaller circle above this, also crossed out:] it isn’t? [another circle leading up] NO
Use computers to get out of the computer.
				Party Hard||core|| (Now!)
				Party Master
				The Party God
				The Party King
				The King of Partying
				Lord of Partying
Party: but never		Party Savior
explicitly mention	Party Music
alcohol, drugs - 		Party Man
but don’t				Party Hero
condemn either

PARTY VENGEANCE: take all the people who left me out, who were mean to me, and who thought I was stupid, and invite them to a big party where we can all go crazy and have fun. ||and [illegible]||

[in the margin:] Mystery with anonymity is too easy. Make a mystery with a great deal of visibility, and a lot of it out-in-the-open.
I.S.A.H. - I Smell A Hoax

[PAGE BREAK 99]

KEEP ALL THIS PRIVATE!		1/12/00
Overriding creative ethic:
The ultimate “art concept” is to have an art concept so vast and all encompassing that it swallows its own tail and, in turn, swallows even the very concept of “having an art concept”, so that it’s liberated from its own confining concept, definitions, destroying the straight-jacket of conceptual identity, escapes the prison cell of “frameworks”, and eventually invades ALL of reality.(not just the steril [SIC] and safe and sanctioned segmented confines of “partial reality”, as defined by “art galleries”, the “art world”, or, and even more importantly, as defined by language and literal meaning.  It is now no longer seen as or experienced within the horrendous context of “art”, but simply is pure experience, beautifully unburdened by any context except the context of True reality itself.
*ANDREW: As long as you never explicitly explain or describe any of the above to your audience (or anyone else), your work will remain truly alive, immortal, and free.  Don’t let your ego kill your vision.
[in the margin in red pen:] All of this sounds like a bunch of ||[illegible]|| pretentious nonsense.

[PAGE BREAK 100]

YES			[crossed out] THIS IS ||[illegible] THE [illegible]||| KEY.
||NO||		^
	MEGA-RITUAL subconsciously semi-controlled long term ceremony.  Tear open the world, unlock the gate, break the curse, and let my creature escape and liberate reality from its jaws.  Make people who don’t like me or don’t even know I exist unwitting participants in generating more for this life long ritual (is this a “bad” thing to do?)
	Never call what you’re doing “art” (or even worse) “performance art”.
MORE:
The problem with performance art is that it’s “performance art”.

Subconsciously satirize the “performance art” method (but NO jokes), and shatter the “seriousness” and unimaginative low risk maneuvres [SIC] of “art music”. Beat them at their own discipline.  Blow the “art” so far outside the canvas, the frame, the stage, the gallery, the museum and even the genre and surrounding culture itself, that I’ve secretly eradicated it, or at least exposed its silliness and made it less relevant and powerful.  Chop “high art” down to where it can be [continued next page]

[in the margin, again in red pen:] This is stupid?		Mumbo-jumbo

[PAGE BREAK 101]

DO NOT SHOW THIS TO ANYONE!
[continued from previous page] interacted with and truly experienced by the body and soul, ||and not pseudo-intellectual, government funded jet set donors||. <—————> WATCH OUT! ————> Exactly!

Make my style insidiously dominate and permeate all facets of the audience members who are willing to go deep.  Invade minds, thoughts, imaginations, dreams.  Bond with the power of the archetypes.

The ultimate concept cannot be boxed in, or defined, or explained, or described, or understood - it can only be experienced.(ANDREW: What are you thinking with all this? You’re projecting! Remember that what you’re really doing is mocking your own arrogance and ambition in a haze of self-denial!

The best way to out-do “the weirdos” and the “art people” is to not be too explicitly “weird” or outwardly engage in the trappings and hallmarks of “art”.
I will make something so vast and deeply and truly weird, that you can’t even [continued next page]

[in the margin, again in red pen:] This is totally stupid.

[PAGE BREAK 102]

NEVER, EVER TALK ABOUT THIS TO ANYONE, ANDREW!
[continued from previous page] be sure it’s even “weird” at all.  The seemingly normal/mundane thing that still somehow seems “off”.  THAT is the most unsettling/uncanny feeling - the deep and confrontational uncertainty that comes from a presentation who’s motives and inner workings are not entirely clear, yet not obscure to the extent of being too obviously and intentionally weird - always hovering, always unsure, always unable to fully grasp, dismiss, or pin down.  TO MAKE SOMETHING THAT IS TRULY UNSTABLE - TO BE FELT IS A GENUINELY OMINOUS PRESCENCE [SIC], NOT KUST PRESENTING “HAUNTING” THEMES, BUT ACTUALLY BEING  HAUNTING.

WEIRDER THAN “WEIRD MUSIC”.

MAKE IT WEIRD FOR REAL. (BY MAKING IT FALSE?)

*ANDREW: Never use any o the above language in song titles or lyrics or in other external presentations!!! CRUCIAL! ——————> (occassionally [SIC] contradict all of this)

[in the margin, again in red pen:] You’re totally delusional, Andrew, stop.

[PAGE BREAK 103]

Stupid NEVER TELL ANYONE ABOUT ANY OF THIS ANDREW!
ANDREW: Remember, music and art that strains too transparently to show that it’s “weird” does not actually FEEL weird at all, because it has revealed its hand and deflated its power from the start, in an ego-centric desire for “specialness” or a generic “going against the status-quo”, but on going through this tired old routine it simply becomes part of a new “pseudo-weird” status-quo, with its own rules and dogma and circle of comfortable lifestyle choices.  It’s just another genre, just like the genres it claims to be rebelling against.  It becomes just as safe, predictable, knowable, and stable as anything it disdains.  It’s going through the superficial movements of rebellion, but not actually taking any real risk or truly providing access to the transient sensations of the uncanny.  The “pseudo-weird music” and “pseudo-weird-art” genres are really just giving people their desired opportunity to feel superior to “normal” people.  In actuality, it is those things which [continued next page]

[in the margin, again in red pen] Andrew: this is all pathetic projection, you are ranting and raving…about yourself!

[PAGE BREAK 104]

[5X7 photo of Andrew with shoulder length hair sitting at a window wearing a blue button-up shirt]

[PAGE BREAK 105]

A: This is all so stupid							Horrible waste of time.
			KEEP THIS PRIVATE.
[continued from previous page] are “normal” (the familiar) which ||[illegible]|| have the most potential to open a gateway into uncanny and truly strange sensations.  And, in the end, it is a fear of this exact strangeness that the “weirdos” are running from by creating a sanctioned and pretend, controlled, and sterylized [SIC] version of “weird”, because the actual weirdness of “regular people” and ordinary life are too confusing and truly over-whelming for them. So they block it out and ridicule it by making an “alternative” that appears “weird”, but is in fact much less threatening.  Much like traditional horror movies cover up and distract from the truly horrifying intensity of real “normal” life, and “explain away” true horror with “weird” phenomenon like “angry spirits” and “vengeful ghosts”.  The “pseudo-weird” scenes are engaged in the same self-deception, and in the end, their entertainment is weaker and more predictable than the truly unstable and chaotic thrashings of “normal” life.

[in the margin, again in red pen] Andrew: this is not interesting at all.

[PAGE BREAK 106]

A: You are not a legitimate musician or artist. ||Not great [?]||
DO NOT SHARE THESE THINGS WITH…
I am meant to make relatively normal music. I must not outwardly and blatantly describe or advertise and define my work as “weird”, so it has an actual chance to  be weird.

I must not fit in with all the rest of the people trying to “not-fit-in”.  Put ambiguity first on as many public levels and on as many planes as I possibly can. <——delusional

Keep all intentions and behind-the-scene inner workings unclear, contradictory, and incongruent.  BE AS INCONGRUENT CREATIVELY AS POSSIBLE, ANDREW.  This will be very frightening and it will give me a very ungrounded feeling, but that is also the sensation that I’m trying invert and give the audience, GROUNDLESSNESS AS LIBERATION AND IMAGINATION AS INVERTED HORROR.  Counterintuitive and ambigous [SIC] methods of decision making.  To never be quite sure of anything - not even whether or not I can actually never be quite sure.  TO NOT KNOW what is [continued next page]

[in the margin, again in red pen] ARROGANT!

[PAGE BREAK 107]

YOU’RE NOT ||[illegible]|| You should be embarrassed (and disgusted), Andrew, of yourself.
	ANYONE!

[continued from previous page] really going on.  To not know where I’m coming from.  Ho, what, why, and where become elusive fanciful wishes.  The true creative imagination is fully terrifying in its profound possibilities.  This is the feeling. This is the ultimate pleasure.  This is what I must commit myself to and master, but by the very nature of its slipping fluidity, I will be just as challenged and bewildered by it - I’m only a means to its ends.  And I can only master being its servant.
ANDREW:
*(You are creating a sense of Positive Paranoia in the audience.  Even the people who hate you should be able to feel this from your work.  In fact, those who hate you might hate you precisely because of this paranoid and unsettling sensation you’re giving them.  This will be challenging for you to manage.  Accept now that you may never fully be able to manage that side at all.  There’s only so much control you can have of the chaos feeling you’re seeking to invoke.)

[in the margin, again in red pen] More pointless pretension and projection (not good!)

[PAGE BREAK 108]

A: You are just trying to make yourself feel smart and special, and you are not!
	FOR NO ||E||YES! ONLY!

Once again, ANDREW:
“Weird music” as a sound and “style” has been done.  It’s a dead end at this point.  It’s already been mastered by previous artists many decades.  Those engaging in it now (and claiming to break new sonic ground) are just rehashing pale imitations of the original sonic innovators. *Remember, ANDREW:		*THE REAL NEW FRONTIER IN WHICH TO BREAK NEW GROUND IS NOT THE SOUND OF THE MUSIC, BUT THE PSYCHOLOGICAL COVERT CONTEXTS YOU CAN CRAFT IN THE ENDLESS SPACE SURROUNDING THE MUSIC.  IN THIS WAY, IT IS EXACTLY THE OPPOSITE OF THE TIRED OLD CLICHE THAT “THE ONLY THING THAT MATTERS IS THE MUSIC.” THAT’S REALLY JUST A COP-OUT TO EXCUSE A TOTAL LACK OF IMAGINATION AND APPRECIATION FOR ALL THE OTHER POTENTIAL REALMS TO WORK WITH IN ADDITION TO THE MUSIC.  IN THIS WAY, THE ONLY THINGS THAT MATTER ARE EVERYTHING ELSE AROUND THE MUSIC.  BESIDES, FOR ANY COMPETENT MUSIC-MAKER, THE MUSIC WILL ALWAYS STAND ON ITS OWN ANYWAY.  BUT THIS [continued next page]

[in the margin, again in red pen:] This is all inane and pointless self-aggrandizement (VERY bad, Andrew!)

[PAGE BREAK 109]

This is stupid ————> NO ||E||YES!  Andrew, you are not a real artist!

[continued from previous page] IS NO EXCUSE TO DISMISS ALL THE OTHER POSSIBILITIES AVAILABLE TO THE CREATIVE MIND.  IT’S QUITE A SAD AND INEXCUSIBLE [SIC] SITUATION, BUT PEOPLE ARE JUST GOING THROUGH THE MOTIONS OF WHAT OTHERS TOLD THEM TO DO.  I MUST NOT LISTEN TO THOSE WHO TELL ME MY INTEREST IN THESE OTHER REALMS IS MISGUIDED OR “A WASTE OF TIME”.  THIS IS PERHAPS THE MOST IMPORTANT ASPECT OF MY PARTICULAR STYLE - IT’S MY AREA OF FOCUS, AND IT DOESN’T MATTER THAT SO MANY HAVE TRIED TO DISCOURAGE MY EFFORTS HERE.  THIS IS MY PATH.  MY T.W. EMBRACE IT!!! <—— Delusional

NOTES/GOAL:
Make your music and overt presentation relatively “norma” yet still intense and eye-catching and powerful.  THEN, at the same time, make everything else you do surrounding the overt presentation (behind it, below it, above it, on the sides of it) feel “TWILIGHT ZONE”.

*REMEMBER, ANDREW: Still make every effort to make my “normal” work as good as I can, within the limits of its humble form.

[in the margin, again in red pen:] Andrew, you sound like an idiot and a jerk.

[PAGE BREAK 110]

Never show or tell ALL PSEDOU [SIC] intellectual nonsense!
MORE PRIVATE NOTES:				1/14/00
Subvert and transcend traditional ||elitist|| and ||alternative|| [hidden under post-it-note]
||HIGH FASHION WORLD||
Out-do all ||”ho-hum”|| 
Acts by being:
More dynamic
Multi-faceted
Athletic and physical			This is NOT
High-quality				Good.
More risky						SM
More complex -NO and imaginative
Out-do them on every plane: out risk them, out play them, out work them, out perform them, out think them, out last them, out reach them.
Do the things they would never dare to do 
Do the things they couldn’t do, even they dared to try.  Do what they could never pull off.
Do the things they can’t even imagine or ever dream of coming up with, and even they did, they would not devote the raw effort, patient, planning or emotional and mental energy required nor would they develop the inner focus needed to with-stand the resulting isolation, pressure, and horrors-of-self.  *(ANDREW: This all sounds conceited, not confident. Be careful.*

[in the margin, again in red pen:] This		?	Pretentious!	huh?       NO

[PAGE BREAK 111]

[this page is the same as the prior, with post-it note lifted]

PAGE BREAK 112]

[the words in bold on this page have been circled in red, presumably by SM]

Actually take genuine risks Do not avoid high stakes situations or ideas. Do not avoid pressure and responsibility.  Take deep risks that go against my own sense of self.  Actually venture outside my own zone of “peers” and common-interest people.  Actually go places I don’t want to go and do things I don’t want to do. Go against my first layer instinct and follow my deeper long view intuition.  Work with people I don’t relate to.  Reach people far away from me; people who aren’t like me; who don’t like me.  Actually do things that disturb me severely, not just challenge me “in theory”.  Shatter my shyness and tear away my terror in the name of a cause that’s more important than my own weakness and fear.

Lower and humiliate myself while I’m trying to elevate and boost my ego.

Actually learn to do what I need to do to make this vision come true.  Actually play real musical instruments, use music theory and don’t give into the mindset that “not-being-able-to-play-an-instrument” is some sort of breakthrough idea (this idea was mastered by J.C. and T.G. pointless to work in after their achievement). Actually be able to ——>

[PAGE BREAK 113]

[the words in bold on this page have been circled in red, presumably by SM.  Some of those appear to have also been circled in black?]

Make high-quality products, worthy of being mass produced and mass consumed.  Actually be able to reach a wide audience that’s made up of all sorts of people from all sorts of backgrounds (not just “art” people). Actually welcome and invite all kinds of people into a party where they can have a physical and emotional encounter with an intensity of feeling that sweeps across the entire spectrum of human experience.
AESTHETIC TONES:		VERY TROUBLING…
High-production values; everything should look, and sound, and feel cinematic.
The feeling of a massive team working together to bring a vision to life.  Ongoing theme of massive co-operating.  Always.
No “bedroom” or “garage” or “handmade” or “arts and crafts” or “DIY” or “throwaway” or “pseudo-raw” aesthetics.  Make everything look as slick and commercial and corporate and high-quality as possible.  Even if I make something or do something by myself, don’t take too much credit or make a big deal about it.  It should all seem like a huge team of people are in charge and doing every sing thing.  Ultra high sheen and gloss and surging intensity.
No blaming other people, or industries, or society, or money for mediocre results. ——>

[PAGE BREAK 114]

[the words in bold on this page have been circled in red, presumably by SM]

Everything is my responsibility and also my fault.  Don’t claim my own laziness or self-imposed limitations are due to someone else or bad circumstances.  Always speak highly of the entertainment industry, especially if I ever do struggle with it.  Never blame the industry for problems I may be having.
No feeling “superior-to-other-music” just because I made something that other music-lovers don’t connect with.  That is my shortcoming, not theirs.
No making inaccessible music just to feel “more sophisticated” than the people who don’t “get it”.
No calling other audiences ignorant, just because they don’t like what I’m doing.
No passing off poor quality work as “intentionally-bad” pseudo-avant-garde “art”.
Andrew: how can you be sure that all of the above isn’t exactly what you’re actually trying to do, but sadly trying to convince yourself that you’re somehow avoiding these exact pitfalls?  You may be the worst example of all this sort of stupidity! Do you even realize it?
Yes!!! I realize it, and I’m trying to address it!

[PAGE BREAK 115]

EAT MORE rice and noodles.

[Full page drawing of Skeleton version of Andrew standing in an upside-down, lidless box, with a ! On one side.  In his right hand he is holding a smaller box with a ? that is dripping blood, and with his left hand he is pulling a smaller Andrew W.K., with bloody nose in all white, from the smaller box.

[PAGE BREAK 116]

SO MANY PROBLEMS
TOO LITTLE [letters decay into simple lines]
ANDREW:				1/16/||2000|| —>00
It’s time to take your childhood interest in magic and magicians to the next level.  Move the magic trick off the magician’s stage, discard the magician’s black tuxedo for dirty white clothes, swap the wand for a microphone and turn your entire life’s work into a psychological magic show.
Make the magic come from a place that people wouldn’t expect magic to come from.
Make the magician the type of person people wouldn’t recognize as a magician.

PSYCHOLOGICAL SLIGHT OF HAND. [drawing of a left hand, with shadow]

***And ||the|| your biggest (magic) trick of all, is concealing from the audience the fact that any magic (trick) is even being performed in the first place.
Use magic to make it appear that I don’t exist.
||Appear||	Appear ——> Disappear ——> Between
Use magic to make it appear as though the ||illegible|| has disappeared.
“One of the illusions of the ||illegible|| is to convince ||them|| the audience he doesn’t exist.”

[PAGE BREAK 117]

[5X7 black and white photo of relatively-short-haired Andrew leaning back with a bloody noise, the blood running down his chin to some chin stubble]

[PAGE BREAK 118]

ABSOLUTELY CRUCIAL:			1/17/00
Never reveal the origins of my ideas or creation, and never explain what “it is about”. (Only ever “explain” ||from|| the most superficial and simple aspect of what I’m trying to do) ||or [illegible]||

Do not explicitly “express myself” in any obvious outward way in any of my work, with the exception of expressing the inner most lies. ||[illegible|| (contradict this?)

** My work will always be VERY PERSONAL, but not “About me”.
And it doesn’t need to always be a literal expression or recounting of my lived experiences, but rather, what I would like my experiences to be —> aspirational.  Always striving towards a vision, at the same time, I must make sure I’m always putting myself into vulnerable positions, and being “wrong”, on as many surface planes as I can.  Don’t be afraid of “problems”.  Don’t be afraid of “trouble”.  Stay exposed, stay concealed, stay open, stay sealed, stay strong, stay humiliated.  Never resort to complete falseness, facelessness, —————> [continued next page]

[PAGE BREAK 119]

[from previous page] or anonymity - that’s all too easy.  There’s not enough risk.  Not enough vulnerability or opportunity for deep impact on the audience.  I need to remain in places where I feel unstable and uncertain, for that is what will be ||tranm|| transmuted by my work into glorious possibilty [SIC] and freedom.

I can guide the audience gently, but I must always respect their intelligence and independence.  I can quietly offer very discreet segments of information (but always disguise these segments as mundane, so they could be easily be overlooked).
Most importantly:
Always, always, always, always, always, always, always allow the audience to fire things out for themselves, and remember that their perspectives may be even more insightful and interesting than my own.
								—————————>
**** No matter how tempted I may be to reveal the true nature of my ideas, NEVER EVER give into that dangerous but unbelievably alluring urge.

[PAGE BREAK 120]

WARNING, ANDREW! [these two words have red coloured above and around them]
If you let your ego take over, and you succumb to the pressure to blurt out, “Hey, everyone!  I meant for all that to be that way!  It was all me, and it was all intentional, and here’s exactly what it all means…” then you will ruin it all, ||[illegible]|| the mystery will be over, the mystery of what the mystery even is will be over, everyone loses including the audience and everyone ||I’m|| you’re working for (and made promises to), ||[illegible]|| be strong and endlessly committed.
DO NOT REVEAL
DO NOT EXPLAIN
DO NOT TAKE CREDIT
YOU ARE NOT AN ARTIST
YOU ARE NOT A MUSICIAN
YOU ARE  A  MAGICIAN

Never ever, ever, ever, ever, ever, ever, ever talk to ANYONE about ANY of this.  EVER.    (Except S.M.  J.E.K.   ||[illegible]||.   	L.H.C.

[PAGE BREAK 121]

							1/19/00
Play with things that “shouldn’t” be played with.
Access the deepest and most profound interior areas of life using the most shallow and frivolous exterior methods.
Is there a conspiracy to make you think there’s a conspiracy?
Infiltrate and move through disparate ||gener|| genres, disparate forms of media, disparate “scenes”: “art”, radio television, “experimental”, punk, fashion, “cool”, newspapers, rap, magazines, classical, jazz, reggae, computers, metal, folk, techno…*(but NEVER do radio dial style switches.  Just hover around these areas from the outside.  You can never be officially “accepted” into the scenes…and you won’t be.)
Be a part and also apart.
Infest the liminal spaces of pop-culture and “underground” culture and pollute them with positive paranoia.	————>

[in the margin of this page:] MAKE THE ELEMENTS OF MY PRESENTATION WHICH APPEAR LITERAL TO ACTUALLY BE SYMBOLIC AND MAKE THE ELEMENTS WHICH SEEM TO BE SYMBOLISM ACTUALLY BE LITERAL.

[PAGE BREAK 122]

[the words in bold on this page have been circled in green, presumably by SM]

**Fit in anywhere and everywhere and NOWHERE. (All at the same time)
||[illegible]||

Harness my own narcissism and egocentric drive. ||WHY?||

Try to trick the “cool people” scenes: trick them into thinking they’re “getting” it, and “in on it”, when really I’m “in on them” and “getting” them.  All without them realizing.  All the people who made fun of me and discouraged me - manipulate their cynism [SIC] and defensive-detachment and work it against them and use it in my work’s best interests.  Enlighten them?  Are they actually the ones enlightening me??? Am I actually the most cynical one??? Harness the fear and frustration and feelings of inferiority and of being laughed at and left out and all the anger and nihilism and use it against itself.
				No||NO||			—————>
Get “positive revenge” ^ on all the high school people and “cool people” who said my work was stupid and dumb [continued on next page]

[in the margin of this page, in green pen:] ||STUPID|| AND ||EVIL||

[PAGE BREAK 123]

[the words in bold on this page have been circled in green, presumably by SM]

[continued from previous page] and “unsophisticated” and not “smart” or “intellectual” enough.  All the people who said I was a loser and didn’t know how to make music.  Prove them right and wrong, simultaneously.  ||IMPOSSIBLE|| No its not!
Am I just as bad as everyone I think is bad? Or am I even worse? YES

Are all these plans of mine just my own [these two words are underlined in red] pathetic pseudo-intellectual “games” and I don’t even realize I’m playing them?  Am I just doing all this to feel better about myself?  Just because I’m lonely, isolated and unable to connect with people?  Are all my “concepts” actually just sad cop-outs and excuses to not do something more straight-forward and traditionally legitimate?  Are my “special”, “artistic” approaches to my work just me trying to make up for low self-esteem?  Stay on top of all of this, Andrew!  Be very watchful of the games you may be playing with yourself because in the end, you won’t really “beat” anyone or win, you’ll still just be the same loser as before, forever.
CATASTROPHIC SELF-CRITICISM? <——NO [in red pen]

[in the margin of this page, in green pen:] ||ACCURATE|| ——> No, this is ||not||! ——> ||YES|| NO

[PAGE BREAK 124]

[in green pen at the top of the page] IDEA: WHAT SORTS OF THINGS COULD WE DO GENERATE A LOT OF HATE MAIL? (TRY TO GET COMPLAINTS/CALLS?) 
										1/20/00
Lower myself to the highest level.

Always make it easy for people to underestimate me.

Always make it easy for people to overestimate me.

Try to get S.M.-team to work with/pressure music critics to write bad reviews?  Encourge [SIC] misunderstandings and smears and attacks on “me” and Andrew W.K.?

Anticipate and account for as many basic and obvious criticisms and attacks in advance and try to work them into the main themes (both external and internal) and part of the long-term non-story line and “reveals”?

Never allow people to fully know what I’m capable of doing (or not doing), especially the people I work closest with.			—————>

[PAGE BREAK 125]

[5X7 photo of long-haired Andrew wearing plaid shirt and digital watch standing in front of fine crockery cabinet.  His arms are folded and he appears to be staring intensely at whoever is taking the photo.]

[PAGE BREAK 126]

Gradually increase the intensity of everything, including the directness of symbolic elements (over time).

Make a mystery that’s simultaneously so subtle and convoluted, yet also brazen, that the main mystery of ANDREW W.K. becomes the question of what exactly the mystery is in the first place.

Subliminal mega-mystery

Ego-spiral
Labyrinth			NO RESOLUTION
Never ending maze, - no solution/exit/NO END
*NO DEAD ENDS!
*Wear a man of my own face

[drawing of a decapitated, eyeless mannequin-head Andrew with long hair and bloody nose dripping down face] 	ANDREW W.K.
								IS NOT
							ANDREW W.K.

[PAGE BREAK 127]

[in block letters] MY SCHEME			1/21/00

((Talk to S.M. about their ideas to make it look like we were trying to secretly discredit everything we were doing and the whole Andrew W.K. origin story,(and then the follow-up “discrediting of the discrediting”)) Could this fake hoax also be used as a distraction and cover-up of the “bad”-contract-problem?

Make sure that all elements of origin and back-story are true while also obscure and uncertain enough that the audience can’t even be certain about the uncertainty?

Maybe all the “uncertainty” was actually just staged and manufactured to under-mine the ||[illegible]|| legitimacy of the entire Andrew W.K. origin story, and all intended to make him look bad on purpose? But there should be no concrete way to confirm or deny this.  Ideally, all certainty (and uncertainty) is ultimately dismissed in favour of the joys of pure experience (not-knowing)?		—————>

[in the margin of this page:] General note: defy and disappoint audience “false hopes”

[PAGE BREAK 128]

The best way to win the game I’m playing is by not playing a game at all (or at least make it appear that way?)

Do not conform!
Do not even conform to yourself!
But also be careful not to appear as an obvious/blatant and stereotypical “non-conformist”.
Be both a conformist and a non-conformist at the same time, but never conform ||with|| TO non-conformity.

Don’t try to be too aggressively “different”.  Allow any potential “originality” to form naturally on its own and in line with the gradual realization of the vision, over the long term?

Don’t take too much credit, or any credit, as often as possible.  You did not make this, and neither did I?  Always avoid the “written by, produced by, directed by, screenplay by” problem.  Give credit to as many other people as possible.  Make people think I can’t make anything by myself, (that I’m helpless), make it all seem like it’s been done by a huge team of people, and I’m clueless and lost in the middle of it all.

[in the margin of this page:] General note: go away/disappear right when people/audience think they “need” you.

[PAGE BREAK 129]

[in black, red and green pen, very large letters] DREAM TEAM
												1/22/00
In credits: use full names for all dream people, and use initials for all real people?
Give credit where credit is NOT due (and don’t take credit even if it is due to me)

	NO
	 ^
||NOTEBOOK|| DREAM IDEA:
Fabricate some sort of creative notebook that outlines the entire vision and the entire plan in detail.  Make it real but put it together in a way that causes it to come off as “false”.  Make it all true. (Don’t detail any of S.M.) Also make it look like it was made in the future, some kind up reversed time line feeling.  It should tie into the pretend evidence and the pieces of imaginary history that I established in 1997 ||[illegible]|| (before the “Big Apple” and “musician” projects), and also tie into the first album release.  When the first album comes out, make sure never to discuss any “gameplay” and only mention the existence of this notebook to S.M. and the main team (but don’t let them actually read it).  They should think I’m trying to make them believe [continued on next page]	—————>

[in the margin of this page, in green pen:] Do NOT keep notebooks!

[PAGE BREAK 130]

[continued from previous page] that I’m lying.  And that the whole plan of attack was just made up before I even moved to “New York City”.  Too “something” to be “something” too true to be imaginary.  If the entire vision plan was invented after the fact, then why did it all come true?  If I never actually moved to NYC, and if I never actually release the music, then how did it come into being in the next two years?  That’s the sort of question I don’t want people to ever ask.
[this following paragraph is in a shadowed box] METHOD:
Make the audience doubt the true stuff I’m doing, and believe the false stuff I’m not doing.  And then constantly invert and swap the two states of confusion and clarity.
[the next two lines are incorporated into a colour drawing of the top half of a skull, bloodshot eyes bleeding down the face as well as from the nasal cavity, over exposed gums and teeth.  This skull is flanked by two long-haired Andrew skulls with third-eye-forehead-gash and lower jaws intact]
	NO - KNOW - GNO
Crystal Clear Confusion

[in the paragraph of this page]: Who is really in control?  Who’s in charge of who? Which one is manipulating the other?
NOT LYING.
Plant ideas in audience mind.  Make it all seem imaginary, especially the real things.

[PAGE BREAK 131]

[in big block letters] I CAN BE THE EXORCIST OF MY OWN DEMONIC POSSESSION.
“My plan” LONG-RANGE TIME	“Super-Map”
							1/24/00
Time estimate: 30+ year development stage, at least three decades for initial vision execution and the gradual holding of potential audience perspectives.
Keep a high overview
Work in five year blocks of time
Always look deeply ahead
Use original F.V.+ M.D. game plan and let S.M. ||[illegible]|| and finance
Do not break away!  Stay this course.
Remember Andrew, the whole reason you signed that first contract wasn’t just to get the money to deal with the settlement, and it wasn’t just to get out of high school early.  The reason you signed that contract and made this life-long deal was because you said you wanted to do something big and you wanted to commit yourself to something for your entire life.  So, this isn’t just a contract with S.M. and dad, this is also a promise you made to your own soul, and a way to let the demon into your heart by bleeding it out of your brain.  Leave your life.

[in the paragraph of this page:] L.H.C. <—————— ALL LIVE

[PAGE BREAK 132]

ERA-A: 1939-1955-1979-1997
Birthing of origins stories, multiples
[in margin, in blue] LIVE Create “piano prodigy” upbringing
[in margin, in black] PRESS Violinst [SIC] mother entertainment lawyer dad
[in margin, pertaining to next three points] ALL F.V.“Troubled kid” angle, establish loner and outsider personality in school, very few friends, misunderstood by peers, teachers
Try and build up stereotypical “interest in art and music” storyline (but with a more isolated and socially stunted side).
[in margin in black] Begin the long term hinting at severe psychological trouble.
[in margin, in blue] LIVE Andrew was “born bad” back story.
“He has a devilish side” psychiatrist.
[in margin, in black] DAD L.H.C. Trouble-making in general, magic tricks gone wrong, “mail-fraud”, “baseball card hoax”, “apocalypse-sound”, and misc. “teenage pranks”. (Scary anecdotes)
[in margin, in red] PHOTO Swap out California for Wisconsin or Michigan, [in margin in red] $ possibly consider Florida as genuine point of origin and make it  [in margin in blue] ACTIONS look like the truth was actually North Dakota? Or Wisconsin?  Michigan?
[in margin, in red] $ LIVE Establish lines of story to early “band” experiences” (high school marching or jazz band?)
[in margin, in black] ACTIONS Local “oddball” music scene, make it look like he was playing basement shows ——>

[PAGE BREAK 133]

[in margin, in red] $ Create “early recordings” plant to “discover” later. (Seeds of later story)
[in margin, in black] DAD MED Make up a bunch of band names that he “played in” during high school and “recorded with”.
[in margin, in blue] ACTIONS + LIVE Misuse instruments and “poor quality” recordings.
[in margin, in red] $$ Invent early record label for the appearance of exotic and obscure “experimental” releases.  (Back date all artwork and copyright details).
[in margin, in blue] OTHER Construct several layers of “to [SIC] obscure/real to be true” pseudo-credibility with “scenes”.
[in margin, in black] PLANTS [as well as for the next two points:] L.H.C. Work on a multifaceted and multi-dimensional plot that goes backwards to all of the “obscure beginings” [SIC].
[in margin, in red] LIVE False origin story should completely attempt to hide eventual acting and modelling contract as well as the first “pay-to-play” buyouts at first “shows” and “music recordings.”
Summary:
CHILD-OF-INFINITE-FORTUNE MODE

[PAGE BREAK 134]

ERA-B: 1998-2002
[in margin, in blue] OTHER Initial appearance of “official” and “standard” Andrew W.K. (and “Andrew W.K.”)
[in margin, in red] AND LIVE First build up moves (imaginary “start”)
[in margin, in red] $ Establish first-layer and second-layer music “origins” with “struggling” look and ads in newspapers, etc.
[in margin, in black] PAY First “low quality” solo shows
First false “meetings” and connects.
[in margin, in black, for next two points] BACK-DATE Back-plant first “experimental” tape and CD releases (from “childhood” story)
Back-plant “Wilkes-Krier” props from Era A, and “experimental” recordings.
[in margin, in blue] LIVE Play-up “solo” and “underground” angles.
[in margin, in black] $ Build false word-of-mouth through the S.M. “paid fans” (pay-for-hype)
[in margin, in black] GET $ FROM DAD AND S.M. Insinuate “avant-garde” themes and concept for “art gallery/fashion” and other “scenes”.  Create supposed connection to “experimental electronic” acts [in margin, in red] LIVE - play with this, and do “shows”.
[in margin, in blue] OTHER Make it seem like there were a steady stream of invisible appearances during this era. (Link to “pre-L.H.C. deal”)
[in margin, in black] SEND AND STAND Unveil first iteration of “big apple” plan (this is when you should say you “moved” to NYC). Stay in Florida.
Trick old “high school teachers” and [continued on next page] ——> 

[PAGE BREAK 135]

[continued from previous page] “friends” into thinking you were actually trying to make it look like you never actually moved to “NYC”.
[in margin, in blue] LIVE Stage several short “job” stints arranged ||[illegible]|| by S.M. (“art gallery”, “record stores”, “avant-garde fashion house”, “selling opera tickets/gumball machines”, work in “high-end department store”, etc.)
[in margin, in black] BACKDATE JOB APPLICATIONS Allow F.V. to negotiate all “odd jobs” for pay (and with conf. Agreement).
[in margin, in black, with arrow pointing to above joblist] USE MULTIPLES Work with S.M. to create front-facing “real” team for getting “discovered”
Begin “foot-in-the-door” roll out.
Use pre-paid “connections” to get “sudden” and pre-fabricated “big break”.
Pretend “new” contract signing.
[in margin, in red] LIVE Stage meetings for “stand-in” and first auditions with “creative director”.
Plant back-story “talent-scout” ||[illegible]||
[in margin, in black] (S.M.) Cover up “pretend-multiples scandal
[in margin, in black] ACTIONS Work with F.V. on material for additional back-story and “era A” plants/physical artifacts/relics related to S.M./dad and the “mastermind” story line.
[in margin, in black] $$ Push puppets back into “pre-era-A” (if not possible, push to “era-D”)
[in margin, in black] LIVE Plant artefact props at “old friend’s” [continued on next page]			—————>

[PAGE BREAK 136]

[in margin, in black] STORIES ACTIONS [continued from previous page] houses. “Digging-up-dirt” begins (but only on word-of-mouth level).
[in margin, in red] LIVE First roll-out of unconfirmed reports and “rumored connections”. (Dad/L.H.C.)
[in margin, in black] MOM L.H.C. Shove all explicit and primary themes out to the front.  Basics on full and hard display.
[in margin, in blue] PHOTO ONLY Create strong impression of entirely empty “background” (agree to “wait”).
Remember to keep implicit/internal themes entirely subliminal.
[in margin, in black] MED No veil. (This must be = “L.H.C. and M.D.”)
[in margin, in black] $ Crucial to convey “emerging” from nothing and “false development” during this stage (from “talent scout”.)
[in margin, in black, a simple drawing of a face with right eye crossed inwards] This would be start of “crossed I” in official photographs.
[in margin, in red] $ LIVE Perceived “debut” MUST seem like a pre-fabricated and [in margin, in black] $ inorganic build-up, (but entirely “real).
Begin weight-gain (at mid-point-era).
[in margin, in blue] ACTIONS Lean tissue, natural hair / ||wig||)
[in margin, in black] MEDIA Plot out “overnight-success-story” script (and layer on top off [SIC] “foot-in”)
[in margin, in red, then crossed out in black] $ Debut album “pretend recording game plan (and photo shoot/“missing” video) ——>
Unroll “sold-out”/“paid-off” corporate [contined on next page]

[PAGE BREAK 137]

	M.D. and TSD should not work on “talent scout” project after era-C (shift focus)
											^
[in margin, in red] LIVE [continued from previous page] storylines and “rumors” underneath dulling “experimental background” and “talent scout” layered plots.
[in margin, in blue] MEDIA First commissioned negative and positive write-ups go out.
[in margin, in black] IDJ UNI Album release with front-cover manufactured “controversy”.  UK only.
[in margin, in black] SH First partial cut-off of all made-up “childhood”/“teenage” “friends”.
[in margin, in red] $ Begin television wrapped front show (with maximum splash) based on [in margin, in black] MEDIA corporate concealment and “focus group” backing.
[in margin, in red] $$$ Advertisements with sponsored trade offs (ask S.M. to negotiate)
[in margin, in blue] OTHER All-media saturation push with only “overnight” party [party is circled in red] theme.
[in margin, in red] $$ Second wave of commissioned and reverse ghost writing hits media.
Tours of UK, USA, Japan
[in margin, in blue] LIVE “Chaos concert” concept level 2.
[in margin, in black, pertaining to both the next two points] S.M. Unveil “anywhere and everywhere” approach with M.D. guards.
Covert contextual mission / urge incorrect perception, multiple-one.
Summary:
POWER-ON-FULL-MODE

[PAGE BREAK 138]

[in black, then written over in red] STOP PICKING AT YOUR FINGERNAILS AND ||cuts|| EYES!

ERA-C: 2003-2007
[in margin, in black] UNI JPN Core themes of “something happened” begin to wash over surface clarity.
General sense of first time “turning”.
[in margin, in black] OK First hard stabs of internal themes are felt by audience (on subliminal plane).
[in margin, in blue] OTHER [in margin, in black] PRESS First wave of blatant contradictions or “wrongness” (i.e. wrong pants).
[in margin, one in black and one in red] $$ “Dig-up” and have planted era-A props “uncovered” (S.M.-team will “find”).
Do more genre/media “crossings”.
[in margin, in black]Do more “fish in/out/on water” moves.
[in margin, in black, pertaining to the next four points] MAKE-UP L.H.C. More “wrong person” series moves.
Increase weight0gain (wet tissue).
Use “right” and “wrong” voice for appearances and “backstage”.
Look older for first half of era-C and look younger for second half.
[in margin, in red] LIVE Increase ||transparent|| “desperate” efforts to “act-like-a-real-person”.
[in margin, in black, circled in blue] K.W. Scrambling and flustered effort to hold together external themes and image (especially in second half).
[in margin, in black] TSD P.X. Internal themes blatant “lash-out”.
[in margin, in blue] MED Orchestrate smear attacks from ——> both “within” and “without”.  Threats to “expose” true ||[illegible]|| “evil nature”.
[in margin, in black] ACTIONS “He’s-really-a-bad-guy” plot 1st appears.

[PAGE BREAK 139]

[in margin, in blue] OTHER Partial and “horrifyingly awkward” attempts to “reconnect” with “childhood friends”.
[in margin, in red] $$ $$$$ Orchestrate an additional round of hard pay-outs to “secret masters”.
Semi-exposure of advance planning.
Buy lots of candy for people ——> [to the top of the page] buy more candy (bars) for people. [in red pen] ---------> or fast food [in blue pen] (Juice?)
[in margin, in red] $$ Begin first explicit push of “business problems” fallout work.
Induce real life personal crisis
[in margin, in blue] LIVE Deep self-inflicted trauma angle bubbles up, (flashbacks to earlier).
[in margin, in black] ACTIONS The business crisis and exposure fallout to first “implied” efforts at self-negation and audience-doubt.
[in margin, in black] L.H.C. [in margin, in blue and circled] 1939 Forman “credibility-crisis” begins to dominate and obscure pseudo-goals.
Begin public “blackmail” campaign.
“Zodiac-killer” letters (back-date era-B)
[in margin, in black] TRAINER [in margin, in red] L.H.C. Lose weight for height of identity shatter - three walls of multiples. (Note: this will actually require four(face) and change-outs from all earlier photos. Back-date facings from era-C and front date facings from ||”lost”|| pattern plan).
[in margin, in black] $$$ ”SHOW” Turning-point-night inverted reveal. (Backstage multiples). Tape on clothes.
Summary: SELF-DECONSTRUCT-STARTS-MODE

[PAGE BREAK 140]

Wear a mask of my own face.
Look like I’m wearing an Andrew W.K. mask.
ERA-D: 2008-2012
[in margin, in red] DAD Should feel like constant “dilemmas”. [dilemmas underlined in blue]
Increased sense of “turning”. [turning is underlined in blue]
[in margin, in black] L.H.C. Deeper tones of “problems” and “trouble”.
[in margin, in blue] S.M. More explicit “complications” caused by era-C “business issues”. (Money, image)
[in margin, in blue] $ Desperation and “shattered self” mode.
[in margin, in blue] $ Begin “image permission” problems and second wave of aggressive multiples.
“Rights-to-be-myself” concept rolls out.
[in margin, in blue] L.H.C. More visible “pupping” and “pull-stringing”.
[in margin, in black] “SHOW” [in margin, in blue] LIVE Low-quality walking, and down-foot standing (“different” and “heavy-foot”).
Overall negation intensifies/fall-outs.
[in margin, in black] $$$ More contradiction / ||[illegible]|| off-self.
[in margin, in red] CHECK Inversions of “false message” and pre-era-B “missing message” themes.
Increase obvious sophistry (in general).
[in margin, in red] L.H.C. Begin “moving-away” move from “music”.
[in margin, in blue] OTHER Rambling/raving and “poor” speaking style.
[in margin, in blue] LIVE “Lost person” and “missing time” lies
[in margin, in blue] LIVE Start breaking up visibility during concerts and media presentation
[in margin, in black] ACTIONS Fractured and “two-face” appearances.
[in margin, in blue] S.M. [in margin, in black” MED More “magical-thinking” and staggered passing-out “blank-outs”.
[in margin, in blue] !? More explicit pseudo-symbolism, etc.
Original external themes begin to [continues on next page] ————> 

[PAGE BREAK 141]

[in margin, in red] PHOTO ONLY [continued from previous page] calcify and decompose and crack and split apart. (Imaginary “hiding-from”.)
[in margin, in black] $$$ First materialization of more off-putting and arrogant pretence.
[in margin, in black] MED Darker internal themes begin to take shape in multiples, etc. [this point is connected to the final point on the page with a red arrow]
[in margin, in blue] OTHER General instability and high-end activity (||[illegible]|| scatter-shot).
Change face again at entry point.
[in margin, in red] LIVE Exit at edge of multiples (for any summer concert tours).
[in margin, in black] L.H.C. Unfold “seven-actions-over-seven-months” idea (in theory), as stand-in for “unreleased new music” (from before).
[in margin, in blue] LIVE More fast-food/fast-food work.
Behavior-Twist (over-resting/still)
[in margin, in black] S.M. Hold-strong move in outdoor photos.
Substance abuse preparations, etc.
[in margin, in blue] OTHER New companies for record label problem.
[in margin, in black] MED ACTIONS “Unconfirmed-sighting on sidewalk (w/ multiples, and sub-choreo)
[in margin, in blue] RE-DJ Mirror-abuse/face-tunneling/over-smiling/watering-eyes, etc.
[in margin, in blue] LIVE Begin comprehensive pharmacological “pre-schedule” with company manager.
[in margin, in blue] LIVE More aggressive mental “handling”.
[this point is connected to the third point on the page by a red arrow] Deep=end hard-edge protection on [continues on next page]

[PAGE BREAK 142]

[there is a brace in blue pen encompassing all points on this page labeled] ALL
[in margin, in blue] PHOTO ONLY [continued from previous page] all backstage and bathroom (or on imaginary bathroom, etc).
[in margin, in red] LIVE + [in margin, in black] S.M. ALL ACTIONS “Tear/pull-open” (vomiting around all “friends”, telephone yelling, inside and outside crying, finger and hair problems, wig, extension from head, redness, etc.)
[in margin, in red] LIVE Extreme weight fluctuation (salt and water pill program)
[in margin, two in black, the third in red] $$$ Eyes-keep-changing (swelling, tear-duct infestations, pressed-up, etc.)
[in margin, in blue] LIVE [in margin, in black] MED Several instances of “watching-TV-too-far-away”. (Coordinate w/ photogs)
“Wall-staring”. (In airport waiting area).
[in margin, in red] LIVE] Bad skin (rash problems, infections)
[in margin, in blue] OTHE [SIC] Loose watch, wrist and arm changes.
Mouth damage (tooth decay/coloring).
[in margin, in black] ACTIONS Incorrect clothes, shoes (sunglasses on)
Locking-doors (grow-downs, hangers)
[in margin, in red] LIVE More cable TV/cable news/faces
Reverse ghost-writing projects (US and UK and Japan) for TSD
[in margin, in red] Fake/pretend “lectures”
Government work via dad
All-call telephone stand-ins (all using voice control or actor/S.M.) ——>

[PAGE BREAK 143]

[in margin, one black one blue] $$ In general, push “acidic-suffering” on front and sides (leave behind “clear” [in margin, in red]LIVE for post-back-dated era-B/C, etc.)
[in margin, in blue]RE-DO False appearances and false “no-shows” [in margin, in black] MED (at airports and at hotels) bathrooms.
[in margin, in red] LIVE Double-denials to “friends” (forced)
[in margin, in black] M.D.+F.V. Push exaggerated and off-putting “I’m-doing-the-best-I’ve-ever-been!” hype manic attitude (back of curtain).
[in margin, in red] Missing luggage/suitcase full of “supplements” and “blood vitamins”
[in margin, in black] S.M. Destructive slants on previously established physicality, etc.
[in margin, in red] LIVE Children’s television, more animal work/crossings, tone-flips, etc.
[in margin, in blue] RE-DO Pattern breakers (no more riding in cars behind-scene, etc).
[in margin, in blue] OTHER Begin veiled cross-talk of potential “business problem” resolution, etc.
[in margin, in red] LIVE Talk radio, general platitudes packed with ||anti|| un-meaning, etc.
Over-wrought, ambiguity quietly begins.
[in margin, in blue] ACTIONS “Stretched-to-thin”, all-ends-burning, towards no-means, etc.
[in margin, in black] L.H.C. Straining…
Summary: POSSESSED-BY-EMPTINESS-MODE [this has a blue arrow leading up three points to ‘talk radio’]

[PAGE BREAK 144]

ERA-E: 2013-2017
Deeply saturated with significant of “people-are-really-getting-worried-about-you” atmosphere.
[in margin, in red] LIVE “self-shatter” (and associated moves).
Disappearing zones/almost completely gone from audience.
[in margin, in blue, pertaining to next two points] ALL Complete and final ||[quit?]|| cut-off from all “friends” and extended “family”.
Telephone holes and return-to-sender
[in margin, in black] PHOTOS Brutalized face, skin and nails
Horrifying underlying “problems”.
[in margin, in black] ACTIONS More contradictions, (along with an extra layer of early conflicting and distorting “revelations”)
[in margin, in red] PHOTO ONLY “Hidden door” entrance pointing
Exit problems (more stairs, elevators)
Trouble/fear of ramps, corners, etc.
[in margin, in black] S.M. Increasing “motivational speaker” presence and event “appearances”.
[in margin, in black] $ Shifting sophistry/more “new-age
“Inner-world” collapse
Aesthetic prism-splits, etc (off lab)
[in margin, in black] $$$ Slow depress on previous mind
Re-hire first multiples (era-B)
[in margin, in black] $$ Laying down of most stand-ins.
[in margin, in blue] Cosmic horror themes increse [SIC] (backwards) ——>

[PAGE BREAK 145]

[in margin, in blue] ||ACTIONS|| ————> SHOULD BE SHOWS
[in margin, in black] S.M. Nearly all previous external themes should seem fleeting/hollow/see-through.
[in margin, in red] MED Vanished see-through eyes.
[in margin, in black] M.D.+F.V. Internal themes make consistent, low-level threats to dominate.
[in margin, in red] MED Pharma-testing pattern implodes.
[in margin, in blue] F.V. S.V. Deeper “non-viewable” computer problems and recognition.
[in margin, in black] Spiraling. [SIC]
[in margin, in red] MED Separation and severe self-image “pull-apart” (and off-loading)
[in margin, in blue] L.H.C. Weight destabilized and rolling 
“Off-body”.
[in margin, in black] PHOTOS ONLY [in margin, in red] MED Dry-skin, redness, incorrect eyebrows, wrong arm movements/holdings.
[in margin, first in red, then two in blue] $$$ Holding objects “wrongly”/de-hand.
[in margin, in blue] MEDIA Release era-B/C/D trauma team (free)
[in margin, in black] MED Weekly strong-blood schedule peaks

Summary: ACCELERATED-ASCENSION-MODE

Call Michael About S.M./lawyer 212-714-4646

Bread
More candy bars
Get water
	milk
	Cheerios

[PAGE BREAK 146]

ERA-F: 2018-2022
[in margin, in black] SHOWS LIVE Imaginary liberation through total and complete self-brutalization and acceptance.
[in margin, in blue] MED + S.M. Complete emotional, personal, mental, social, familial, and musical failure (both implicit and pseudo)
[in margin, in red] MED + ACTIONS [lower in margin, in red] S.M. [in margin, in black] AND ACTIONS Total and sincere disappearance from all “friends” and (“friends”) from era-A through era-E, severing formal maintenance to extended family, etc ((Warning: Andrew, this will be one of the most challenging parts of the presentation (from all the eras), and you must be fully prepared for the intensity involved with this particular ordeal.))
[in margin, in black] SONY Main “problems” appear to have calmed down or entirely resolved.
[in margin, in red] $$$ [in margin, circled and in black, underlined twice in red] K.W. In false “behind-the-scenes” leaks, many new layers of demonic-destabilization are self-perpetuating and building.
[in margin, in black] SONY Business fights and lawsuits ————>
[in margin, in blue] MED Even more “computer problems” and a total depersonalization.  Missingness.  
Promote “delusional-day-dream” ploy.
[in margin, in black] ACTIONS (Based off previous vomiting]/similar.
Explosion of multiples/timeline-coils.

[PAGE BREAK 147]

[upward facing brace in black, with text:] Discuss w/ T.S.D [TSD is circled in red] ——> NO
[in margin, in red] MED Body is left not unresolved
[in margin, in blue] DAD Unsolved/unexplained
[in margin, in blue] S.M. Explosion of silence/activity
[in margin, in black] STORY Empty motions and “work”.
“Deadness” and hollow fullnesses.
[in margin, in black] PRESS Face and eyes at “uneasy peace”
Pseudo-return-to-form (fake out)
[in margin, in red] TRAINER Gain more weight/dehydrate tissue
Missing tattoos (“come-and-go” arms)
[in margin, in black] PHOTOS ONLY Band-aids
Distorted super hero unraveling (twice)
[in margin, in red] MED Look younger
[in margin, in blue] MED Same face, different mouth/tongue
Negative forehead, mis-seeing (off
[in margin, in red] $ Additional leaking of “long-term-plot”, (with calls to previous staged acts).
[in margin, in black] LIVE [in margin, in blue] $$$ Partial false exposure of intentional pre-fabricated (pretend) fake-hoax through early notes and plans.
[in margin, in blue] ACTIONS Deny all authentic props and planted artifacts, deny leaks.		————>
[in margin, in red] PRESS Never look at notes or props.
[in margin, in black and circled] K.W. Too disturbing to see, etc. (multiples).
More is insisted but never existed.
[in margin, in red] MEDIA + ACTIONS Deeper and more deliberate flipping of underlying themes, previous television context exposed/denied, media story- [continues on next page]

[PAGE BREAK 148]

[in margin, in black] MED [continues from previous page] lines and producer pressure also “poorly managed” (denial-self).
[in margin, in red] PHOTO [in margin, in blue] + MEDIA Internal themes rapidly absorbing and displacing last remnants of surface presentation.
[in margin, one black one red] $$ original atmosphere is infested and mangled almost beyond recognition.
[in margin there is a blue brace for the above and next three points, with a red question mark] Constants remain (in order to defy convenient “evolution” assumptions).
Insist on “not-changing”.
[in margin, in black] $$ Deny all signs of development.
[in margin, in red] ACTIONS Only the most superficial remnants of era-A and era-B “appear” visible.
[in margin, in black] ACTIONS SHOWS Hollow, wooden, brittle, burning - dust, traumatized, “something-really-is-wrong, (this time?), active and brutal mockery and pseudo-deconstruction of era-D.
[in margin, in black] $ Nearly zero-discussion/interview media
[in margin, in blue] L.H.C. “Deep-pressure” ribcage breathing and posture in photos/videos
[in margin, in black] S.M. Self-cannibalism angle/spirit, etc
[in margin, in blue] OK [blue arrow leading down to, also in blue] MED Medicine drenched (unopened doors, etc)
[in margin, in black] SONY Not-a-person - disassociation/(body)

Summary: NIGHTMARE-MODE [nightmare mode is underlined twice in red]

[PAGE BREAK 149]

ERA-G: 2023-2027
[in margin, in red] $ Peak intensity, officially payoff and maximization period.
[in margin, in blue] LIVE Internal themes should have officially taken over by this point.
All externalized, all outsider.
[in margin, in red] MED False-memory atmosphere dominates, disking and raw tones that both confirm and question previous eras.
[in margin, in blue] ACTIONS S.M. In general, all previous eras appear like a misremembered dream, could never have existed. (Full slanted).
[in margin, in black] F.V. Maintain consistent image and all prior presentations (branching off).
[in margin, in red] T.S.D. Step up total depersonalization.
[in margin, in blue] $$$ Highly prolific (even mores than era-B, era-E, and era-F).
[in margin, circled and underlined in black] DOUBLE Complete “high-action”/activity.
Missing-in-action.
[in margin, in red] LIVE Plot for scam from era-C. (Total)
[in margin, in black] S.M. Entire “reversal-of-exposure” tied to “false history” blowback, and “you-don’t-exist” accusations.
[in margin, in black] M.D. Spin planted props as “pretend hoax”, and double back as “semi-genuine”.
[in margin, in red] ACTIONS $ Several build-ups with carefully timed “come-downs” should coincide with nothing. (Separate) ———>

[PAGE BREAK 150]

[in margin, in red] ACTIONS + SHOWS Set up several apparent attempts to “finally” get-to-the-bottom of what actually happened towards the end of era-C.
[in margin, in blue] MEDIA [in margin, in black] F.V. Appear to “reveal” false explanations for mechanisms and pre-arranged spontaneous “career crisis” events.
[in margin, in red] LIVE Actors finally level
[in margin, in blue] STORY [in margin, in black] K.W. Open up sides of presentaion [SIC] (magic-trick), but only as part of faked audience “success story”.
[in margin, in red] LIVE Multiples continue, take on more leadership and control.
[in margin, in red] MED Increase restriction.
[in margin, in red] MED Decrease limitations (compounds)
[in margin, in red] MED Hallucination through-line (hypnosis).
[in margin, in blue] ACTIONS Reclaim all themes and re-plant in newly manufactured contexts.
[in margin, in black] S.M. —> Amplify core (superficial) vision.
[in margin, in blue] PRESS Clinging, clutching, flailing…
Personae is subdued in favor of person.
[in margin, in black] TRAINER MED [med is circled] Weight has stabilized in heavily modified and altered under-visage.
[in margin, in red] $$ Face inversions (all previous/three).
[in margin, in red] ACTIONS Systems at play/pressure’s off.
Summary: DEFAULT-UNCANNY-MODE

[PAGE BREAK 151]

[there is a red bracket along the top of the page pointing to, also in red] ACTIONS [this is crossed out in blue, with an arrow pointing towards] LIVE
ERA-H: 2028-2032
[in margin, in blue] MED+LIVE Euphoria period, high-point climax of all plans and long-term efforts.
[in margin, in red] $ S.M. Total synthesis of internal and external themes (no longer possible to discern “internal” from “external”.
[in margin, in blue] LIVE Complete integration of all literal and symbolic aesthetics.
[in margin, in red with a brace for the next four points] MED Omni (pushing inward and outward).
“Focused on the blur”.
Urinating, ||towel flooring|| (twice)
Pushing past actors up and then down, and the in from “backstage”.
[in margin, in blue] SHOWS Using multiple shirts (while making it appear to only be one or two shirts)
[in margin, in red] NO David Copperfield (see above/for shape)
[in margin, in blue] $$$ [in margin, in red] REPEAT Three to four era mixed facings and standings each week (rotating and every other week with round-robin overlapping crossings).
[in margin, in blue] ACTIONS] [in margin, in red] + STORY [in margin, in black and circled] K.W. Pretend to attempt at a “half-heart” non-decision that made it momentarily look like they were all going to reconnect with “friends”.
[in margin, in blue] S.M. Off-voice for telephone/false-body.
[in margin, in red] LIVE Inner-corner/bathrooms/era-F style.
Summary: DREAM-COME-FALSE

[PAGE BREAK 152]

		MOST IMPORTANT!
[in hollow block letters] ANDREW, REMEMBER…	
							1/25/00
[in large, shaded in block letters] DO NOT WORK IN PHASES!

[in smaller block letters again] NEVER WORK IN PLANNED STAGES!
NO CHARACTERS/NO CONCEPTS
Only stick to the original step-by-step vision outline!  Never, ever, ever, ever “make-it-up-as-you-go-along”! Follow your ||[illegible]|| orders and do what you are told and what you promised to do when you signed! This is NOT up to you! Do what you MUST do, and then you will live!

[PAGE BREAK 153]

From me to myself (MORE MISC. NOTES)		1/26/00
Andrew:
Don’t set goals for industry achievement or proffesional [SIC] recognition.  ONLY focus on the core vision. ONLY.

Andrew:
You’re not trying to make something “cool” or materially/sexually “successful”, you’re working to realize a vision of pure imagination and sensation.  You are making something which strives to be extremely inspiring, insanely interesting, and incredibly intense.  The most meaningful kind of success will come from focusing on the following: making all aspects of your work as inspiring, interesting and intense as possible.

Andrew:
It will take 30+ years for this vision to begin to manifest fully, and possibly even longer for it to be noticed/seen by the audience/public.  In fact, it may never be comprehended, and if that occurs it will be your fault, and not anyone else’s, and least [continues on next page] ———>

[PAGE BREAK 162]

[Journalv2.pdf, from which this was transcribed, here jumps nine pages before the next page, confirmed with margin notes, so I have moved it up for narrative’s sake]

[in red, with arrow pointing from the below paragraph] DELUSIONS OF GRANDEUR

[continued from previous page] of all, the audience’s.  It’s your responsibility to convey the entirety of this vision to other people.  And do not resort to cop-outs or give-aways when it seems that traditional hard work isn’t accomplishing any-thing.  Be patient, Andrew.  You’re working on a vision for the vast expanse of eternal mind.  All your efforts and all your restraint will be worth it.  You will need every precious moment.

People may never understand or like or even notice anything you do, Andrew.  People may never connect with you or your work.  It’s a strong possibility that even if you complete all the tasks and physical work associated with this vision, that it will all amount to nothing and not a single person, besides your-self, will care or even be aware that it exists. [in margin, in red] or doesn’t exist. Are you prepared to deal with the potential pain, frustration, lonliness [SIC], and isolation you will experience during this quest? —>

[PAGE BREAK 154]

Andrew:
Can you honestly tell yourself that you believe wholeheartedly in every challenging dimension of this work and the odyssey you are undertaking?  Is this really a risk you’re willing to take?  Are you entirely certain about your decision to devote your entire life, your body and soul and mind, to the realization of this vision, especially with the awareness of how difficult it will be?  Is this particular path truly worth going down, with the understanding that the likelihood of ||it success|| your plan||s|| working ||are|| is so extra-ordinarily slim?

Andrew:
Will you be able to tolerate being consistently misunderstood, and accept that you and the particular themes of this vision are the primary cause of the misunderstanding?  That the perverse and euphoric confusion at the hear of your [continues next page] —————>

[PAGE BREAK 155]

[continued from previous page] vision will ultimately thwart your ability to realize it? You will be the truest embodiment of the vision’s spirit, in your own self-imposed inability to connect with other people.  Do you see what you’re getting yourself into, here?

Andrew:
Will you be able to withstand the envy of seeing your peers out-do you materially, culturally, and socially, and watch as they ||[illegible]|| receive praise and rewards from those who will scoff at you and your efforts?

Andrew:
Can you withstand all sorts of people thinking that you’re stupid, that all your work is shallow, that your music is dumb, and that you’re a bad person?  Can you handle the attacks?  Can you handle indifference?

Andrew:							———>
Most importantly, remember that nothing [continues next page]

[PAGE BREAK 156]

[continued from previous page] you do will change what you are.  You will still be on the outside looking in.  You will still not have any real friends.  You will still not be able to connect with other people.  You will still be “doing it wrong”.  Don’t ever think your work on this vision is going to ||[illegible]|| “fix” you or save your life.  You will still be cut-off, isolated, and alone.  In fact, you may find yourself more alone than ever.  Can you deal with that?

Do you really have what it takes, Andrew?

				I DON’T KNOW.
Powerful perseverance
Relentless resilience 			Love my enemy
Tireless tenacity				Be my enemy
Fearless focus
Complete commitment			Make Myself	
							my own adversary?
				DON’T BE A FUCKING
					    WIMP

[PAGE BREAK 157]

[loose sheet of yellow A4 paper]

ANDREW:						Jan. 27, 2000
Time-line design and time ideas 
Time travel and history manipulation through pre-planned and carefully planted artifacts.  Make my history what I want it to be in the future.
Find a way to make time travel work through forced atmospheres. (J.F. Time and Again) (Invasion of the Body Snatchers.)
Replace and replace-re-place.  Use time bend approach to change past and fix the future. (Construction of founding documents, notebooks, papers, false contracts, (plot out timeline to account for dark/lost years, “evil origins”, disappear in plain sight, legal problems, business battles, bankruptcy, adversaries, “be the devil”, and psychological research chemicals.)
Be sure to work in trapdoors, old “photos”, old “releases”, wrong “writings”, conflict of personality styles, etc.

Keep practicing your autographs.

If anyone finds these notes, just say they’re fake or a hoax something is trying to pull/scam/trick/can’t remember.  Deny/never reveal/never let down.
Make it seem like I have no control over my life/work.  LukeI’m being manipulated, just like the audience, just like I feel.

[PAGE BREAK 158]

			MOVES
			(MAGIC)
			[TRICKS]				1/28/00

Do everything backwards, reverse the traditional order of the “entertainer” origin story.
De-organize notes for “long-term” plans and re-write/de-||w||right all original ideas in wrong and reversed/jumble gym order.
Make it seem like I was born in 1979, or actually born in California.
Make it seem like I was way younger when I was older, and way older when I was actually way younger.
Start high/towards the “top” of the ladder and then “fall”/climb down to the low/towards the “bottom”.
Go back and plant more “artifacts” and other pre-fabricated post-dated and “hidden” pieces of evidence that point towards/away-from “underground credibility”, replace older and all untrue “avant-garde” and “experimental” associations with dad/legal team, and “image consultant” theory, in order to reframe origin story as a cover-up for pay-to-play and actor auditions, initial mail-fraud, etc.

[PAGE BREAK 159]

Have two contradictory events occurring at the exact same time.  Two incongruent themes overlapping, simultaneously.  Ven [SIC] diagram. Be in two places at once, mirror
Multiple television stand-ins.
Make it seem like I tried to create the false impression of having come from the “elite art world”, art gallery scene, and high-fashion world in New York City (false job resume, reverse pay-to-work set-ups after the fact).
Face crimes, swapping, multiples.
Create a false “he moved to NYC” story to distract from first acting and Hollywood-to-Orlando talent scout.  Make it seem like I moved to New York City from someplace in the South or the Midwest.  Create a “heading to the bi city” story and use it as a skeleton to hang the L.H.C. covering on, (regarding the exploratory video team who “set-up” the first auditions, etc.)
Eliminate entire California movie move with an “overnight success” theory (that eventually should fall apart/unravel).  Big-apple/big-break.
Use different face on each album cover (but do NOY use the same multiples as the TV talking head or music videos).

[PAGE BREAK 160]

Suddenly and inexplicably “disappear” from “friends” and any long-time associates and family members in order to cause confusion and disquiet.
Allow room for carefully constructed “accident” events and ||[illegible]||
Manufactured “mistake” from actors posing to appear as low-quality look-alike or multiples.
Create constant distractions in order to look like we are trying to cover-up the plot to appear as though the “back-story” was invented (and intentionally distorted) (in an attempted overlay of “cover” for “talent-scout” situation).
Don’t talk very much about any “personal struggles” (be prepared to occassionally [SIC] contradict this based on S.M. plan, etc.)
Pick periods of time to be “missing in plain sight” - more visible but harder to see.
Obscure, alter, cover, or de-face the Andrew W.K. face entirely or partially in promotional images, television, and at concerts (select multiples).
More blood/slicer face (un-face)
Staged “real encounter” events at ordinary “life” locations/back-stage with multiples to generate anecdotes and real ||word|| world verifiable stories. —>

[PAGE BREAK 161]

Try to make some people think, “he’s actually a really bad guy.” Secretly mean? Is “he” secretly evil behind the scenes?
Pay-to-say “run-in” stories that cast conflicting and negative “bad guy” shadow on “nice guy” image (using multiples and image team money).
Work-in “bad” angles and subliminal subversive negative “personality” elements, overwhelming conflicting dissonance.
Encourage carefully curated “doubters” who pay-to-say and help “expose” blatant hypocrisy (use “run-ins” and anecdotes from multiples, on computer) etc.
Attacks built on S.M. and “actings”.
Encourage “side-though” built on idea that”being nice” was just a “big act” to cover-up the “truth” that “he” (multiples), really has/have sinister origins and evil intentions.
Forbidden, foreboding, taboo, unethical, immoral, horrible, etc (L.H.C./early)

“I heard he’s a really nice guy.”
“Well, I heard he’s a total piece of shit.”

			Be both?

[in the margin of this page]: REMEMBER TO FLIP APPROACHES AND PUBLIC PRESENTATION WITH NON-SENSICAL NEW MOVES

[PAGE BREAK 163]

Is he nice?  Is he scary?  etc. (stages first)
Forbidden reality (behind the behind-the-scenes, 2nd and 3rd layer, etc.)
Say things “that should never be said”?
“Fucked Up” horrible, disgusting, and completely debauched?
Begin “doing something” suddenly and with great repetative [SIC] intensity, and then stop doing it, very abruptly.
Use lots of swear words (tuff, crass, and crude), then stop using swear words and speak super clean?
Manufacture pieces that don’t fit together. Don’t ever let it “add-up”.
Create deeply conflicting elements that constantly clash and build-up incredible friction energy.
Never let the audience know exactly where I’m coming from.
Be a movie that can’t be filmed.
Be a book that can’t be written.
Be a portrait that can’t be painted.
Be a problem that can’t be solved.
Trickster hero? (Fraudulent foe)
Divine doubt (meaningless messiah)

	Make it all interesting.
		Make it all intense.

[in red pen] MAKE IT LOOK LIKE I MAKE IT UP LATER?

[PAGE BREAK 164]

REMEMBER, REMEMBER, REMEMBER, REMEMBER, REMEMBER, REMEMBER…
Andrew:
People will hear your music and say, “this sucks.” And even if they connect with something else you do, or some other aspect of your presentation, they’ll still say, “too bad his music sucks.”  Embrace this.  It’s a key dynamic in your larger efforts to maintain disarray, inconsistency, “plausible deniability”, your ability to engage in deflection, flexibility, and overall unprecitabil-ity.  Still, despite this, always seek to convey people into enjoyers of the music, and as always, seek to make your music the best it can be.

Andrew:
People will hate you, hate what you’re doing, hate your music, and will think you’re a “bad person”.  You must learn to deal with this.
||They will never like you!|| Yes they won’t! ———> ||NO|| <-||NO||—————>NO

[PAGE BREAK 165]

								1/29/00
Vocals/Singing Style:
Early albums: Nice music/mean vocals
Later albums: mean music/nice vocals
Have the vocals start out super angry and harsh and gritty and almost un-melodic.
Very shouted and caveman-like.
Lots of chants and group vocal stacks on early releases, and then slide towards more “alone” sounding voice.
Have the lead vocals grow gradually more melodic and clearer and smoother and cleaner as the albums continue.
As the music grows darker and more minor key, have the vocals contrast it.

HIRE DIFFERENT LEAD VOCALISTS TO SING ON DIFFERENT ALBUMS?

Make it sound like multiple different singers, just like the people on the album covers should look different.

[in margin, in green] -------> call back could work
(Talk to T.S.D. about how much it would cost to hire different lead vocalists with a confidentiality agreement.)

[PAGE BREAK 166]

[in red pen] Use symbolic release dates, song lengths, album lengths, other “lucky” (and “unlucky”) numbers?
“Early Years” releases:						2/3/00
The whole “early years” should be both pre-staged and post-staged.  Should feel both orchestrated, unbelievable, and like the entire history was both invented and tampered with after the fact.
[in margin, in red, with red brace for the next two points] Talk to legal team/image
Establish suspicion that “early music” recordings and releases were false planted, or never existed.
Make fake “cassettes” and fabricated smoke-screen “bands” and rumors and pretend anecdotes about “high-school” bands and “playing/jamming” in the “local music scene” in Florida. (Make sure all of S.M. and actors have a basic script of “timeline” and basic “early history” talking points.) (or just ||say|| have them say they “don’t remember”.)
Pre-date “obscure” vynil [SIC - URGH WHY MY DUDE] and other releases from “his past”.
Compilations? Do stuff in Japan only?
[in margin, in red] S.M. Post-date genuine early album and other recordings to make it look like they were from at least ten years into the future (from date of actual “discovery”/actors first “sightings.”)

[PAGE BREAK 167]

[loose sheet of white A4 paper, text written in thick black marker]
			USE T.V.
It is crucial to get on big TV shows: late night shows, MTV, cable news, local news, talk shows, kids shows, and cartoons.
See if they can buy his way onto major TV appearances, pay to play.  Talk to S.M. about making it seem like “his dad” blackmailed people (lawyer) into putting it on TV.
Make a game show that provides a massive psychic programming platform for his main themes?  A mega-ritual disguised as an innocent game show?  Archtypes [SIC] partial dialectic…

[PAGE BREAK 168]

Make the later recordings sound “early” (more generically and stereo-typically “avant-garde”/opposing genres.)
Link up (or appear to have crossed paths with other “edgy” figures and “underground art” groups/individuals.
Try and establish counterintuitive context for “eventual” hard turn towards “mainstream” corporate/commercial “radio rock” style development.  This entire post-fabricated “origin” area and “early years” dimension should clash and contradict strongly.
[in margin, in red, with price for next three points] Light-Bulb Records/Moon? W. Records/Sofa? V. Records? / Dad should pay with S.M. for
Form “record labels” (with dad) that can release “first” Andrew W.K. music and related “false bands”.  NOTE: it will be important to create at least a handful of other “weird” bands to be on the ||label|| roster.  (Talk to dad about hiring his students to “form bands” - doesn’t matter if they can play instruments well, etc.)
Label name (and “roster” band names can just be random object words or letters, doesn’t really matter, as long as it semi-convincingly seems like a “real underground record label.
This needs to work and build up to mega mainstream “sell-out” to big major label. <—— SONY OR UNI

[PAGE BREAK 169]

Use “pseudo-symbolism” and stereotypical semi-obvious “secret signs” to hint at but (also obscure) actual deeper intended symbols.
[in margin, in red] “He’s an idiot.” (Stupid) Use symbolism that’s symbolic of someone using symbols as a smokescreen and easy distraction.  “There’s ‘nothing’ here.” “Slight-of-mind.” (Like G.R. with opening A.C.’s vault)
Symbolize: “I have no idea what I’m doing.”

[sheet of A5 yellow paper is pasted in with the text:]
NINE ALBUM PLAN
Andrew F. Krier			DECEMBER 13, ’99
Make all the albums in some way compliment each other but also contradict each other.
Make each album eradicate the one before it, but also work with the wreckage of the one before it, to build the next one.
Use a back-and-forth form eradicate/create/eradicate etc. as an approach for the entire nine album plan.
Don’t release too many albums too quickly.  Just release the first two back-to-back and then start to spread them out.
NEVER clutter up my album catalog with tons and tons of releases.
The first official full length album should destroy everything I was doing in high school and all those stupid rules.
[in the margin of this page is a hexagram in a circle, and the text:] USE ’93 SONG STRUCTURE IDEA

[PAGE BREAK 170]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM ONE: (ERADICATE)
“WE WANT FUN”
First official full length album.  Very, very intense and happy sounding straight-toward high-energy (manic) hard-rock music.  Should have slightly dark/secretly dark lyrical undertones and very dark imagery and presentation.  Happy music with angry singing.  Go against all “weird” music that old “friends” Mae and all high-school rules and close-minded pseudo-weirdos.  Go against all stereotypical “experimental” art/music traditions and rigid dogma.  Destroy all the discouragement and harsh interactions you experienced.  Make the album an (unofficial?) mission statement.  Violently cheerful music.  A sonic manifesto to launch the entire life-work plan.  A short album that will last forever.  Make it sound urgent.  Spend a long time making an album that sounds instantaneous.  Never ever abandon the main themes presented in this first album.  All anthems.  Party.  Total [next two words are smudged] PARTY album [next two words are clear again] party album.

[in the margin of the A4 page, in black pen:] I don’t want to inform my work, and if I must inform it, it should be disinformation.

[in the margin in red pen, with a brace for the entire following paragraph:]Why? Try to time the release of the first album *(and the general mainstream/corporate launch) to the L.H.C. founding and some sort of (personal) crisis.  Release the first album outside of the country initially? <———Why?

[PAGE BREAK 171]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM TWO: (CREATE)
“BLOW YOUR BONE”
Use remaining songs from stock-pile/treasure chest.  Make the album seem “different” but in a slightly off-putting way.  Should feel like “something happened”.  Sort of make the “wrong” move after the first album?  Even more blunt/straight forward (too straight forward?) More emotionality and interiority, but presented as an extroverted embrace to all those who answered the call/party invitation of the first album.  A “team” feeling/sound.  Grander sound.  Overblown production.  More reverb and blown-out smashing.  Mirror sound.  Try to look older heavier.  Main weight.  Grow out facial hair more.  Wear slightly different jeans/t-shirts?  Only SLIGHT differences.  Difference colour jeans or overshirts, jackets, or coats?  This is where Essem goes away.  Cathedral to worship the sound of a musical hall of mirrors.
Halls, not walls.

[below on the A4 page in blue pen:] UNDER SWITCH

[in red pen:] 2nd Actor for television but NOT for music videos

[PAGE BREAK 173]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM THREE: (ERADICATE)
“YOUNG LORD”
Time for over switch.  The sound of someone dealing/struggling with their handlers and their self.  The feeling of a meltdown.  The music should make the listener feel like they’re having an amazingly intense and euphoric collapse of conscious-ness.  Pay-off initials and massage team.  Destroy any sense of reliability from the previous album.  Breaking away, dodging obstacle course mazes.  Introduce deeply unsettling visual/sonic elements.  More doubt.  Make it feel/look/sound more deliberately “off”.  More dusted production and audio.  Slightly different hair-style and other “pointless” changes.  Lose weight.  No facial hair.  Look as different as possible while looking exactly the same.  Look younger.  Album should be hard to “get”.  Make it obscure both thematically and also physically.  Only limited release?  Asia only?  Not available.  Return with one foot back “underground”.  Opaque atmospheres.  Reverses, negatives.  Unable to exist.  Forced to “keep on working/going.”

[below on the A4 page in blue pen:] Over(t)switch

[in red pen:] 3rd Actor in theory, but actually go back to WE WANT FUN era multiple, at least for all photo shoots, videos, etc.

[PAGE BREAK 172]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM FOUR: (CREATE)
“EBERWHITE”
A contractually obligated wriggle-out loop hole album of missing time and total pointlessness.  Use it to build up phone credibility in music-elitist circles.  Should not be a good album, but maybe ends up that way.  Should release on some sort of unexpected “art” record label.  Possibly a fully instrumental album?  Make it look/sound like I made the album “spontaneously”.  Maybe some kind of “solo” album?  Solo piano?  Hire a real piano player to record the music and make it appear that I don’t really know how to play any instruments.  Should be devestatingly [SIC] different from all previous three “rock” albums.  Make it very, very, simple production, almost no production.  Make it boring.  Try to use this alum as a false “turning point”.  Should always be thought of as “the-odd-album-out”.  Should be unpleasantly contradictory and meandering.  Music that just sounds like someone playing music for no reason.  No songs.

[below on the A4 page in blue pen:] SIDE SWITCH

[in red pen:] If there are any television appearances for this album it will hopefully align with the mid-length hair TV actor for the ERA-D and ERA-E multiples/TV show hosts.

[PAGE BREAK 174]

NOTES FOR SURROUNDING ALBUM 4 ATMOSPHERE		||[illegible but presumably the date]||
[in margin, in blue]: √
During “lost years”…make other random and disconnected one-off music releases.  Orchestrate desperate looking attempts to “stay working”.  Produce other musician’s albums?  Become a “record producer”?  But choose projects that people “wouldn’t expect” or that appear to contradict the typical sound we worked to establish in albums one through three.  As many “one-off” style moves as possible, should ideally coincide with “big in Japan” plot and associated “business problems”.  Make some of this (all of this?) come off as possibly very “low” quality.  Low-production values.  Under-the-underground?  Keep the feeling obscure and “slip-shod”.  Super-sell-out moves contrasting with most esoteric moves at the same time?  Commercial cover albums for foreign markets?  Reintroduce references to “early evil” origins?  Push general feeling of disarray and chaotic business messes with “founding “ of new companies, off-shoots, record label back-and-forths and business switches.  Use several multiples for various different looks.  Don’t rush this!  All of this should be accomplished over 6 or 7 years/2 albums?

[in the margin, in red:] Need to discuss budget/how to pay for all this and finance extra work?

[PAGE BREAK 175]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM FIVE: (ERADICATE)
“THE DEVIL’S ON YOUR SIDE”
ELIMINATE all “messed up person” presentation styles.  Collapse and resolve “poor-production” recording style.  Major AND minor key melodies and chord changes, but still skewing towards major.  Longer songs and try to have the most orchestral arrangements possible.  Themes should outwardly point to a (pseudo) “return-to-form” sort of feeling, but lyrics and elements of the visual presentation should be very ambiguous.  Use more of a “super-hero” image.  A stronger look, look older, more like album two, but the lyrical themes should combine all three of the first album.  Lots of opposites and polarities.  Should appear very “positive”, but rend a lot of “negative” elements on closer examination.  Every song, melody, lyric should have blatantly opposing but valid interpretations.

[below on the A4 page in blue pen:] ANDREW: 
MOST PEOPLE ARE MAD AT YOU.

[below in red:] And most people think what you’re doing is bad and stupid.

[in the margin of the A4 page, in black:]
DELUSIONAL REALISM								SKEPTICAL
SOLIPSISTIC NIHILISM		[drawing of opaque cube]		OPTIMISM
POSITIVE PESSIMISM 

[PAGE BREAK 176]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM SIX: (CREATE)
“THE PARTY GODS”
“Dawn of a new day” feeling.  Total personal bankruptcy and total business crisis.  The feeling of upheaval and euphoric fear.  Total move away from everyone and everything except partying.  Break up songs.  Break down songs.  Move the internal tones outward to be a bigger part of the external.  The construction of a new (old) sound.  Finally go all-out minor.  Remnants of major still here and there. (Use the minor key melodies and chord changes saved from the 1997 recording ideas.  Darker than dark.  Pseudo-departure (that’s also a return to form).  Maximum filth and sweeps.  Tie-into ERA-F.  Make good on promises to handlers/team.  Stop fighting and go to bed (only inside).  Sound of the highest (and loudest) quality.  Original creative direction and old transgress spirit, to violently contradict previous image.  Death and ending as a rebirth beginning.

[below on the A4 page in blue pen:] ANDREW: THIS ALBUM WILL BE ESPECIALLY DIFFICULT, AS THE RAMIFICATIONS FROM THE DARKER ELEMENTS OF THE LONG-TERM PLAN BEGIN TO CREATE THE DISSONANCE YOU CLAIM YOU’VE ALWAYS WANTED.

[on the right margin of the A4 page in black pen:] Don’t forget to be skeptical of my own skepticism!

[on the left margin of the A4 page in black pen:] Repressed homoerotic/autoerotic undertones (add more narcissistic and egomaniacal overtones) [drawing of an opaque cube coloured in, dripping a liquid]

[PAGE BREAK 177]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM SEVEN: (ERADICATE)
“TEMPTATION TO EXIST” 
Decimate all “positive person” presentation protocols.  Use the rest of the most intense and dark minor key song ideas from the ’97 recordings. (Also investigate un-used ideas, left over from the 2004-2007 studio producer team sessions.). More blatant and direct sonic drive and pounding.  More coming.  The feeling of the music coming at you but also from within you.  Increase ||[disparate?]|| dissociative feelings in lyrics and themes.  Complete personal disintegration and total destabilization.  Songs are highly impersonation and rigid/almost completely cold, but also very, very intimate.  Mending of all existing previous fractures with adversaries in a way that leads to deeper splitting and more complete collapse/prolapse.  Should ||[illegible]|| sound and feel like the music is lashing out in a very loving way.

[below on the A4 page in black pen:] *REMEMBER TO INTEGRATE THE 1993 EVENT.
REMEMBER TO SEPARATE THE 1939 EVENT.

[PAGE BREAK 178]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM EIGHT: (CREATE)
“CRIMINAL PASSIONS”
Phoenix rising from the ashes type of feeling.  Deep reconnect with the actual reality of the positive presentation protocols.  Return to more major key melodies but in an even more developed and lavish mode, and while continuing to maintain darkest developments from albums seven and six.  It should feel like a total and wide reaching synthesis of all the fun and dark stuff from all the albums over the entire odyssey.  Lyrics and themes focus on missing Tim, total personal and spiritual amnesia, lobotomized sense of self, murdered thoughts, blacking out, horrors of consciousness, etc.  Less straight - more bending down and zig-zagged.  Crystal clear and very cutting sonics and delivery.  Very, very dry and hard contrasts.  Un-building.  “Hidden room” feeling.  Orgasmic.

[below on the A4 page in black pen:] * CHOOSE MY SPIRITUAL BATTLES WISELY, AND ONLY BATTLE THE MOST WORTHY OPPONENTS, AND ONLY ON THE MOST ELEVATED AND ETHEREAL PLANES.

[PAGE BREAK 179]

[sheet of A5 yellow paper is pasted in with the text:] ALBUM NINE: (ERADICATE)
!?

[entire page just has a large X crossing it out, no text]

[PAGE BREAK 180]

[large letters in dark black marker:]
NEVER
EVER
MAKE 
CONCEPT
ALBUMS.

[PAGE BREAK 181]
									2/8/2000
[in thick black marker]: MY MIRRORS
[in black pen:] ||Never [illegible]|| Never reflect.  Never look.  Never stop the show.  Never raise or lower the curtain.  Never start performing.  Never expose his secrets.

More intense than A.W. / more physical
More serious/disturbing than A.K.

A.W. = Multiples, repeats, overlaps (the king of partying), mass produced, add variations, distortions, but make it real.  An actual person broken into multiples - repeating - out of the galleries and museums and scene.
Open a place (like the factory) or some sort of happening, but don’t make it too exclusive or a scene.  More open.  Too open?  Discordian.  Contradictory place.

H.H. —> C.I. = False documents/autobiography/notebooks/artifacts/hoax
M.R. —> The king infamy dedication and going beyond, frightening.
A.D.C. —> Stay away from “funny” scenes.
C.S. —> Same person looking different. ———>

[PAGE BREAK 182]

[MY MIRRORS is clearly visible through the page, inverted]
No formal fine-art photograph scenes.  Stay out of the galleries and subsidized museum scenes.

Play some shows in art galleries and museums.  (And then don’t associate).

STAY AWAY FROM “POWER PLAYERS”.

*Don’t get too close to people with too much money.

Make money.
Don’t focus on money.
This is fun.
This isn’t about being happy, it’s about feeling alive.
This is not funny.
This is not a fucking game.
You can’t lose.
This party never stops.
No jokes, only labyrinths.						_
S.F. —> The uncanny
P.W.Z. —> Too much consciousness 
M.D. —> Retinal —> Conceptual —> Movie —> Experiential —> Constructed Reality —>

[PAGE BREAK 183]

G.C. —> F/P —> Euphoric unity music

Bend and hold them in accordance with his vision.

Make yourself into your own homunculus.

Become the puppet master of the person they believe is controlling him.

The M. De S. —> Criminal minds, crime imagination, complex passions, taboo, forbidden, G.G.A. (Jesus).

T.P. feeling but real —> not trapped in a novel (the author more interesting than the writing?  The idea of the author is more compelling than what he wrote?)

S.K. feeling but real (not trapped in cinema or story movies).  Do what S.K. did for movies but do it for rock music, but then take it beyond the form - out of the confines of the medium.  Destroy it and free it - obliterate and liberate.  Lolita movie poster for first album cover, but more symmetrical, like a mugshot?  Put the hearts on a bandaid on one side the face (instead of the sun-glasses) no lollipop - too obvious. ——>

[PAGE BREAK 185]

Total life statement in the work and surrounding the work. This is:
1 - The work
2 - The making of the work.
3 - The making of the person making the work.
4 - The making of the life of the person making the person making the work.

Convey the timeless

Quintessential hermetic/alchemical precepts.  Esoteric totality of expression.  The concept of “truth”.
Remain aware that attempting to undertake the above is the highest form of vanity? Pitfalls.

A.C. —> 93
||[illegible]ism|| symbolism.  ||Use [illegible]ism to|| symbolize the idea ||of [symbolic?]|| works.  ||([sacrifice?] the use of [illegible] to|| undermine my own attempts to seriously engage with it?) Don’t try to understand it to the point where I would dare to take it literally.  Watch out

[PAGE BREAK 184]

For spiritual pride/enlightenment contests, another way to the H.G.A. (a way to initiate people without them realizing?  Or at least in a different context?) Is that evil?  Involve the spirit of A.C. but avoid blatant discussion.  This can be private.  Admit - constantly - to myself that I’m ignorant.  Do not try and gloat or impress.  No dogma.

K.A. —> But the ritual explodes out of the movie and is omnipresent.  Long form mega-ritual.

L.W. —> Of that which one cannot speak, one must remain silent (metaphysics, but also other areas of life)…
						private
J.D. —> Deconstruct yourself in secret, and construct yourself in public.

Discord, friction, and inner chaos
G.H. —> M. the Y.
K.W.T. —> O.K.R.
Eris (save for later)

In general, do not discuss any of the above.

[PAGE BREAK 186]

Exude oppressively upbeat motivational “positivity”, (like (D.C./T.R./N.H./M.P.H.) but with an often shallow and empty delivery, lots of hollow platitudes, and naive and unrealistic perspectives.  Ultimately all pointing to a more dark and menacing core theme/tone.  Use “positivity” as a cloak for a very sinister (yet stimulating) ambiguity.  Ambiguity is the most interesting tone for my work, especially when the ambiguity is extremely subtle and invisible at first glance.  Be heavy handed with the surface themes, but be very delicate with the deeper tones.
Backwards “self-help”? Upsidedown guru “old age” [old age is circled] ||”new age”||.  H.P.B. sophistry clashing with pragmatic and straight forward common sense.
Be sincere…sometimes.
Positive self-help motivational speaker - do this as part of “lost years” move, in era D and era E.  (Business problems).  Might be too difficult.  Hire someone else to write the speeches for “Andrew”?
Do “positivity-guru” as part of the staged [continued on next page] ——————>

[PAGE BREAK 187]

[continued from previous page] professional (and personal) crisis idea?  Reverse ghost writing dictation/automatic articles for ||[illegible]|| contradictory outlets?  Unexpected places…self-help talk show radio or TV? Make a documentary or a book, but have it look like someone else made it?  About the made-up parts of the invented “Andrew W.K.” story-concept.
Pay someone to make it look like I paid someone off to cover up other pay-to-play (pay-to-party) schemes?  Make sure that it’s mostly lies about the true “Andrew W.K.” story-concept.

[in a panel with shadows, centre-aligned:] OTHER MOVES

Dress up like Andrew W.K. and impersonate him/yourself
Mimic the people who bullied me in high-school and elementary school.  Mirror them and trick them, and then once he has them, take them somewhere else and do some-things to their souls.
Positive revenge
Become what you aren’t
Be him until he’s you, and always was.	——————>

[PAGE BREAK 188]

Is what he’s doing deliberate?
Was it all intentional?
Who is really in control?
How much of it really was planned?
“He meant to do that” (when I really didn’t)
“He didn’t mean that” (when I really did)

Always claim that even the most blatantly orchestrated details are “just coincidence”.
Convince people that they’re “reading too much into things” (especially when they’re getting too close to the “truth”.)

Pretend to be a “good person”.
Pretend to be a “bad person”.
Pretend not to be a person at all.
Pretend to be an actual human being.
Pretend that he’s not pretending.

Decorate the edges of the visual presentation with “seemingly meaningless” numbers, letters, words, or other artifacts.  Make them mean something to me, but not to him, and only certain others.
*{Internalize, integrate, and then totally forget everything in this notebook.  Forget everything as you do it.  Except the vision.

[PAGE BREAK 189]

[loose A4 lined sheet, text written in blue marker]
FONTS / LETTERING / ART DESIGN PROTOCOL…2000

Clean		Straight-forward
Slick			Commercial

Blunt			Cinematic
Brazen		High-production values

Striking		Bold			Glossy
Intense		Clean		Irrefutable

Use Times New Roman / Trajan

Use sans serif fonts for main name logo:
(Arial Black, Univers, Futura)

Use all caps for all titles

Use Franklin type fonts for fine print

Never use “damaged” or “gritty” filters, fonts, or other overtly “crude” design styles.

Very corporate and big look

Make your presentation clean and spotless, make yourself dirty and covered in filth.

[PAGE BREAK 190]

[another loose A4 sheet, unlined, text written in blue pen]
												2000
Dark blue or black backgrounds.						NOTES
Neon green (Mountain Dew) (Wizard of Oz)
Alert yellow (Mountain Dew) (Wizard of Oz)
Red, white, blue (Coke, pepsi) (Flags)
Ultra-violet/black-light purple (LSD) (FUN HOUSE ARCADES)
Blood red (life-force, reproduction, death in general)
Center justified - centered in general
Symmetry and natural mirrors
Unsettling visual juxtapositions
Avoid unnecessarily “askew” aesthetics.
Full-color (primarily) / Black and white (secondarily)
NO FAUX-DAMAGED GRAPHICS!
No “homemade” aesthetics
HIGH-CINENA [SIC]-STYLE

[PAGE BREAK 191]

INTERVIEW / PRESS / MEDIA		2/13/2000

Do as many interviews as possible (especially in the initial launch).  Talk to anyone and everyone in the first 20 years.  Too accessible.  Devalue the worth and exclusivity of my appearance.  Over saturate.  Anywhere and everywhere.  In the very first appearances, try to be very belligerent and crass (crude, coarse, and over-the-top, disgusting, repulsive, and flagrant).  Then at some early point, flip the entire tone - be suddenly eloquent and refined.  Unpredictability.  Which is the real him?  The true personality?  Super inconsistent, contradictory, and clashing.  Use jarring juxtapositions.  Reach everyone.  Connect with no one.  Be every-where, belong nowhere.  Do what I don’t want to do, what I don’t like.  Go where I don’t want to go.  Be articulate but not intelligent.  Keep it personal, but not about me.  Nonsense, platitudes, and sophistry.
Do as much press/media as possible in eras A and B, and even more diverse media in era C.  Maximum loudness.
Then go for maximum contrast as part of deeper disappearance and do almost no press at all for eras D, E, and F.  Silence.

[PAGE BREAK 192]

MORE “PERSONALITY” PRESENTATION NOTES			2/15/00
Be totally stupid.
Sometimes make it sound like you’re trying way too hard to appear “smart”.
Be sincere.
Be guarded.
Be evasive.
Lots and lots of lying
Maintain total obliterating privacy and secrecy about all inner workings - at all times, at all costs.
Never say where I actually live.  Never reveal that I was actually never born in California or Michigan.  Never disclose that I actually never lived in New York City.
Never do photoshoots or interviews where I’m actually staying.  Use “false” homes, prop apartments, hotel rooms, or borrow/rent someone else’s house or apartment.
Never tell journalists or photographers that it’s not actually where I live.
Don’t live anywhere.
Pretend to be intoxicated.
Use all interviews as opportunities to push main external themes.  Push, push, push the surface layer loudly.  Make it repetative [SIC] and monotonous and hypnotic. —————>

[PAGE BREAK 193]

Say the same words over and over and over again, without saying much at all.
Push into their minds, hearts, souls, bodies.
Be ubiquitos [SIC]. (Omnipresence)
Appear to show up everywhere he doesn’t belong.
Come but always go.  Never stay.
Always leave.
Always go away.
Go further and further away (as the eras progress), and at the same time, get closer and closer.
Cut off everyone.
Be like anyone.  Like everyone.
Like no one.

[detailed pencil and pen drawing of Andrew with cracked head, dislocated eye, snapped jaw, dripping blood, generally not looking too healthy.  He is wearing a band-aid with hearts on his right cheek, and there is either a gash or a small eye in his left cheek.  He says, in a speech bubble dripping with blood:] I’M PARTYING.

[PAGE BREAK 194]
											2/20/00
REMEMBER, ANDREW:
Tear up the old contract from 1997 *this must appear to have all happened before he claims we made the new S.M. relationship look official).
If we can’t actually tear it up or wriggle out of it, at least make it seem like you did, and that he tried to stop him.  At worst, they can tear it up in theory.

[changes from pencil to black pen:] Tell the people working on that what he wants them to do, (and tell them how to do it), but they don’t ever need to tell them why he wants them to do it.  Ever again.

Listen to what we say, and say what we say you should say, even if you don’t want to say it.

Do what we tell you to do.  Don’t do what other people do or want you to do.  Do what we want, not what you want.

Don’t allow other people to get close [continues on next page] ——>

[PAGE BREAK 195]

[continued from previous page] to you.  But always attempt to get close to other people.

Get close to them.  But keep them away from you.

Don’t tell people what you’re doing.

Don’t explain what you’re working on.

Write to people the most disgusting and depraved things you can imagine.

Wrongness.

Break off relationships unpredictably.

Stop talking to “people”.

Stop talking to yourself.

Only talk to us.  And…

You’re alone.

You have no friends.
							————>
No one understands you and no one ever will.

[PAGE BREAK 196]

[drawing of a spiderweb in the top left corner of page]
People have always thought that you’re stupid and dumb.  They still think this and they always will.  And they are right.

This is all true.
The vision is coming true.
It already has.

Don’t rush this process!
Be patient!

Will power, restraint, discipline!  Remember the long-range plans!

Be deliberate, Andrew!  Be strong!

Don’t explain meanings!

Don’t provide explanations, only provide sensations.

You don’t really know what you’re doing.

He does.

[PAGE BREAK 197]

									2/24/2000
SENSATIONS FOR THE AUDIENCE
What if everything was false?
What if everything was real?
What if he lied?
What if the lies were only there to cover up the lies that actually turned out to be real?
What if everything wasn’t on purpose
What if everything is less than it seems or more than it didn’t seem?
What if he never actually made any of it?  Or didn’t do anything?
What if I can’t ever understand any of it?  Or even understand life?
What if that’s the point?
What if there’s more than meets the eye to the “more-than-meets-the-eye” style of presentation?
What if all these sorts of sensations are entirely pointless and hollow, but no more so than anything else?
What if the previous question was an effort to cause hopelessness?
What if he really wasn’t “behind-it-all”?
What if I’m the one “behind-it-all”?
What if we all are and always were?

An ultimately liberating experience of true psychological horror.	——————>

[PAGE BREAK 198]

[in the top left corner of this page is a drawing of little frowning face with upward-pointing triangular hat/hair; in the top right corner a little smiling face with downward-pointing triangular hat/hair]

I WANT ANDREW W.K. TO FEEL LIKE THE BEST BAD TRIP SOMEONE COULD EVER HAVE (AMONG OTHER FEELINGS…)
The best bad trip you’ll ever have.

Let the naysayers nay-say.

Why would I work so hard to intetionally [SIC] undermine my own credibility?

Neighborhoods, sidewalks, gas stations, stairs, basements, bathrooms, yards, grocery stores, generic cars…hotels

Anonymous (contemporary) spaces, zones

Night / night time / sunset / dark

WAYS TO LOOK “DIFFERENT” WHILE STILL LOOKING “THE SAME”

“Change” without really changing. (Change without really doing anything different.)
Use multiples/actors in rotation.
Look younger, look older.  Look 40 when you’re 27, and look 27 when you’re 40.
Weight gain/weight loss, facial hair and hair cuts/hair styles (slight changes)

[PAGE BREAK 199]

[loose unlined A4 sheet, text written in brown marker]
LIVE BAND IDEAS					2/26/00
Hire a front man (can be actor, doesn’t need to play instrument/sing)
We can have someone else play keyboard, or run show from backstage or at the mixing board. (Stay in background)
Ask dream team and L.H.C. to be in charge of all auditions for front man and band members.
Get multiple frontmen (should look similar, face and body, etc.)
Use different actors for album covers and all photoshoots/music videos.
Lip sync everything for all live shows and certain interviews.
Entire band should be pre-recorded 
At least three guitar players, plus bass, drums, maybe keyboard, etc.
Use basic looking keyboard on very simple stand - almost flimsy.
Use full guitar and bass stacks, look sharp and semi-symmetrical, utilitarian.  All very functional, conventional.

[PAGE BREAK 200]

[other side of the same loose unlined A4 sheet, again in brown marker]
If they can’t find band members, just have hired frontman play “solo” shows.
Ask F.V. and M.D. to hire fill-ins.
Each band member should have their own look.  Should be able to be drawn - timeless but unique.
Maintain band member looks.
High-energy
Consistency
Make sure very first full-band concerts are sold out.  Hire as many audience members as necessary.  Pipe-in crowd sounds and ambient energy.
Use smoke and mirrors for all atmosphere elements, including audience plants in venues, entrances, stairways, bath-rooms, outside, parking lots, etc.
Have extra frontman outside after shows to “meet people”…

[PAGE BREAK 201]

Subtle variations in clothing (t-shirt, watch, shoes, underpants, socks, slight changes in shades of pants/whites, dirty and level of filth.
Different jackets, coats, overskirts
Clothing fit (tighter or looser)
Make up
Wigs
Earrings other jewelry [SIC]
Sunglasses (different kinds)
||Base||Ball caps
Never abandon the essence while doing everything to seemingly call it into question from all sides (especially from behind and underneath).

Natural and almost invisible lip-sticks
False teeth
False eyes
Lifts in shoes (to be taller)
Hold body differently (misplaced arms, hands, sit incorrectly in chairs).
Cut hair very short (apparently) and wear “nice clothes” - era D.
Stand wrong with top of body set crooked on hind quarters
Mispronounce words and more…

[PAGE BREAK 202]

[drawing of a Saturnian symbol on top of what appears to be a stylised D or a ring?]
||[illegible, but feels important.  Could be “ANDREW”, but it also looks to me like it might end in ‘NYM’.  I dunno I’ve been staring at this way too long now.]

[in green pen:] PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTYING  PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / PARTY / 

[PAGE BREAK 203]

EXPLICIT THEMES AND SURFACE ATMOSPHERES		3/3/00

!
Partying
Existence
Intense
Hero
Musician
Music
Masculine
Light
Understanding
Uplifting
Stimulation
Highs
Coming
Creation
Surviving
Fun
Life
One-dimensional
Nice-guy
Truth
All-loving
All-knowing
God
Positivity
Pleasure
		————————————————>

[PAGE BREAK 204]

EXPLICIT THEMES AND SURFACE ATMOSPHERES (CONT.)

Crassness
Oneness
Utopia
Harmony
Helping
Sincerity
Boldness
Freedom
Dreams
Destiny
Desire
Friend
Feel-good
Trust
Strength
Generic
Simplicity
Objectivity
High-energy
Maximalism
Everythingness
Excitement
Carefree
Confidence
Certainty
Physicality
					————————>

[PAGE BREAK 205]

EXPLICIT THEMES AND SURFACE ATMOSPHERES (CONT.)

Body
Happiness
Accessibility
Security
Reliability
Team
Clarity
Answers
[rest of the page is blank other than a large X crossing it out]

[PAGE BREAK 206]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES 

?
Not-Partying
Non-existence
Interest
Antihero
Magician
Silence
Feminine
Shadow
Heaviness
Hurting
Discouragement
Experience
Simulation
Lows
Going
Negation
Becoming
Being
Lies
Myth
Death
Bad-guy
Self-annihilation
Suffocation self-awareness
Unconscionable consciousness
				————————>

[PAGE BREAK 207]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Severe spiritual strain
Psychological sadism
Mental masochism
Inspiring incongruence
Existential exhaustion
Unnerving uneasiness
Diseasy
Positive paranoia
Delusional realism
Uncanny normality
Concrete hallucinations
Pretend illusions
Dishonest truth
Long-term-psychospiritual-surgery
Multi-dimensional
Overlapping
Inaccessibility
Enemy
Confrontation
Destruction
Division
Dystopia
Estrangement
Partitions
Aloneness
Lone-wolf

[PAGE BREAK 208]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Disenchantment
False memory
Missing time
Nightmares
Dark
Coming-down
Doubles
Multiples
Repetition
Illusion
Mega-ritual
Goddess
Mind
Subtlety
Nuance
Restrain
Idiosyncrasy
Ambiguity
Controversy
Incomprehensibility
Insecurity
Subjectivity
Flexibility
Fluidity
Curiosity
Confusion
						——————>

[PAGE BREAK 209]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Cowardice
Confidence-games
Feel-bad
Maliciousness
Intentionality
Skeptical-of-skepticism
Sef-destructive creativity
Benefit-of-the-doubt
More-than-meets-the-eye
Pre-language
“The-socially-sanctioned-self”
Self-deception
Self-transcendence
Self-sublimation
Self-hatred
Self-eradication
Self-reproduction
Auto-eroticism
Solipsism
Infinite-regression
Mirrors
Looking
Careful
Bleakness
Blankness
Nothingness
								————————>

[PAGE BREAK 210]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Secrets
Private worlds
Fakes
Layers
Sorrow
Animosity
“Psychedelic-tuff-guys”
“Enlightenment-contests”
“Spiritual-pride”
Hypocrisy
Meaninglessness
Contradiction
Alienation
Stupidity
Crime
Schemes
Systems
Puppets
Sadness
Ordeals
Inverted-inspiration
Neo-negativity
Hyper-positivity
Frightening possibility
How-can-you-be-so-sure?
Panic
				———————>

[PAGE BREAK 211]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Curses
Cosmic horror
Supernatural
Trans-moralistic
Nature
Pan
Primal-mind
Restriction
Loss
Opposites
Competitiveness
Pain
Problems
Paradox
Polarities
Non-binary
Counter-intuition
Self-as-substance
Substance abuse
Malevolence
Labyrinths
Monsters
Fear
Fraud
Limitations
Frustration
							—————>

[PAGE BREAK 212]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Demoralization
Worrying
Money
Envy
Anger
Ambition
Illness
Disinformation
Magic tricks
Scams
Cheating
Hypnotism
Things-not-making-sense
Relativism
Disconcertion
Uncertainty
Obscurity
Discord
Dissonance
Dis-ease
Demons
Forbidden
Subversion
Progression
Transgression
Transcendence
						———————>

[PAGE BREAK 213]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Not-squaring
Incongruity
Intellectualism
Pseudo-intellectualism
Symbolism
Pseudo-symbolism
Symbolism-as-gateway
Empty-meanings
Hyper-mental
Hollowness
Antinaturalism
Tricksterism
Arrogance
Belligerence
Actors
Movies
Solid-black-cube
Con-artist
Psychological-sleight-of-hand
Pretension
Seriousness
Shallowness
“Art games”
“Surrogate activities”
Cop-outs
Jealous
							————————>

[PAGE BREAK 214]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Possession
Dislocation
Isolation
Insanity
“Creative-martyrdom”
“Aesthetic-asceticism”
Life-as-hoax
Psychosis
Suffering
Other worlds
Distress
Disarray
Instability
Groundlessness
Disconnection
Elitism
Protean-perspectival
Over-thinking
Not-judging-a-book-by-its-cover
Non-judgement
Non-dualism
No-know
Never-ending
Unlearning
Academia
Beyond-rationality
							——————————>

[PAGE BREAK 215]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Ego-death
Ego-worship
Infested-with-ego
“Superiority games”
Self-denial
Self-flagellation
Failure
Ignorance
Weakness
Countering
Disassociation
Research chemicals
Reverse-ghost-writing
Automatic-envisioning
Apprehension
Doubt
Beast
Dehumanization
“Too-much-freedom”
The unknowable
Behind-the-behind-the-scenes
Wrong
Futility
Circles
Spirals
Stealing
							————————————>

[PAGE BREAK 216]

IMPLICIT THEMES AND UNDISCLOSED ATMOSPHERES (CONT.)

Passive-aggression
Narcissim [SIC]
Nihilism
Obsession
Mania
Dependœnce [SIC]
Addiction
Extreme-open-mindedness
Post-pseudo-deconstruction
Post-post-post-post-post-modernism
False “pseudo-performance-art”
Conspiratorial creativity
Reading-into-things
“Reading-too-much-into-things”
That’s-what-he-wants-you-to-think
Mind control
Manipulation
Integration
Questions
[rest of the page is textless, with a large X crossing the space out]

[PAGE BREAK 217]

HOVERING BETWEEN…
1. Existing and not-existing
2. Partying and not-Parting
3. Harmony and dissonance
4. Major and minor 
5. Light and dark
6. Joy and Di||e||spair
7. Smart and stupid
8. Mindless and obsessive
9. Intentional and accidental
10. Coincidental and deliberate
11. Low-brow and high-brow
12. Mainstream and underground
13. Strange and normal
14. Extraordinary and mundane
15. Care and apathy
16. Changing and staying-the-same
17. Intellectualism and ignorance
18. Neurotic and well-adjusted
19. Conceptual and real
20. Free-will and outside-control
21. Spontaneous and planned
22. Conspiratorial and overt
23. Paranoid and trusting
24. Symbolic and literal
25. Self-creation and self-negation
26. Conformity and anomaly
27. Credibility and Implausibility
					————————>

[PAGE BREAK 218]

28. Material and spirit
29. Pretense and frankness
30. Frivolous and serious
31. Authentic and counterfeit
32. Good-person and bad-person
33. ||Real and fake|| 
34. Genuine and phony
35. Original and derivative
36. Natural and unnatural
37. Belief and nihilism
38. Solo and group
39. Repulsive and attractive
40. Benevolence and malevolence
41. Self-involved and outgoing
42. This and that
43. Life-affirming and morbid
44. Ethereal and carnal
45. Organic and synthetic
46. Disgusting and pleasant
47. Patience and urgency
48. Sober and intoxicated
49. “Fine-art” and “commercial-entertainment”
50. Nice and mean
51. Shallowness and depth
52. Limitation and omnipotence
53. Liberation and restriction
54. Truth and lies
					——————————>

[PAGE BREAK 219]

55. Hell and heaven
56. Here and there
57. Us and them
58. I and thou
59. No and yes
60. Both and neither
61. ||[illegible]||
62. Living and dying
63. Certainty and ambiguity
[rest of the page is textless, with a large X crossing the space out]

[PAGE BREAK 222]

		MISC NOTES
									5/7/2001
If people think my music “sucks”, that’s ok.
If people think I’m a “bad person”, that’s ok.
If people hate me, that’s ok.
If people think I’m not a “real artist”, that’s ok too.

Be impartial to both praise and criticism.

Good reviews will make my head big.
Bad reviews will make my heart break.
Tune them both out.

Put interesting pieces of feedback and unexpected audience perspectives to good use in my ongoing efforts.

Value even the most widely unexpected interpretations about the “meaning” of this work.

Call it all into question, including the call itself.

The feeling of when you can’t be sure what is really going on when even “trusted sources” can’t verify what is real.  And yet, the experience is undeniable.

[PAGE BREAK 220]

Realistic unrealness.

[big simple drawing of a frown-y face]

[PAGE BREAK 221]

								6/11/2001
	Pay people to be my friend?
	(Pay people to not be my friend.)

*People pay me to (not) be my friend.

	A ||[illegible, maybe stay?]|| keep-away-fee

[PAGE BREAK 223]

||[illegible but maybe Zodiac?]||
Zodiak killer
Cyphers
Taunting hostile threatening letters

[PAGE BREAK 224]

[in blue marker] NOTES		10/31/01

D.L. -> M.D.
“Thinking about A.W.K. should feel like watching M.D.”

[double-sized letters] BUT IN REAL LIFE!!!
Not inside a movie!
Not through a story!
No “characters!”
||Get o||
Get the experience 
Out of the screen! 		
Out of the gallery!
Of [SIC] the canvas!
Out of the venue!

[PAGE BREAK 226]

[the previous page’s text is clearly visible through the paper, appearing mirrored]

[PAGE BREAK 225]

[in black marker] Fuck Andrew W.K.

Andrew W.K. sux.

Andrew W.K. sucks.

Fuck Andrew W.K.

Andrew W.K. fucking sucks.

I hate Andrew W.K.

Andrew W.K. is a total piece of shit.

That guy blows.  He fucking sucks.  Fuck Andrew W.K.

Andrew W.K. ||is fucking [illegible]||

Andrew W.K. is the worst.  I hope he fucking dies.

Andrew W.K. is the biggest fucking fraud.  He sucks.

[PAGE BREAK 227]

[the previous page’s text is clearly visible through the paper, appearing mirrored]

[PAGE BREAK 228]

G.H. —> B.D.A. feeling
		
			7/22/03

[PAGE BREAK 229]

Andrew W.K. is a total fucking asshole.

That Andrew W.K. guy is a fucking scumbag.  Fuck him.

I hope Andrew W.K. fucking burns in hell, total piece of shit.

I hate Andrew W.K. and his “music” fucking sucks.

Q: “Have you ever heard of Andrew W.K.?”

A: “Fuck that guy.”

Andrew W.K. is a talentless brain-dead disgusting fucking piece of shit.

Q: ”I went to high school with that fucking Andrew W.K. asshole.  And guess what?”

A: “He’s a total piece of shit.”

[PAGE BREAK 230]

[Polaroid photograph of long-haired Andrew lying on a white lounge underneath a blue blanket/mattress protector?  There is black and blue pen writing underneath the photo but it is unfortunately illegible other than “to from”.  This pains me.  There is also a folded A4 piece of paper]

[PAGE BREAK 231]

[Unfolded piece of unlined A4 paper visible on prior page.  It features a pencil drawing of a square containing the eyes and mouth of a face , a bar across the middle of the image.  This picture is also crossed out.  At the top of the sheet are the words:] sky or clouds?
[To the right of the pencil drawing is a drawing of a smaller square with (left to right) orange, blue, red, yellow, green and black bars.  This square is circled in black pen with the text:] EVENTUAL COLOR SCHEME
[Towards the bottom of the page is another small square with (left to right) green, blue, yellow, black and red bars.  This square is crossed out in black pen with the text:] NO! [there is also a ? between the two colour-bar-boxes with arrows pointing to each]

[PAGE BREAK 232]

[this page contains three sketches of CD artwork mockups]

White tray [the first is labeled] FRONT [with notes] white letters (maybe with slight grey fade at bottom?) [it has a red CD booklet inside with white text scribbled out in red pen]

[The second is labeled] INSIDE [with notes] same as front but ||with|| backwards with song backward too across bottom very small (9 or 10p) [it has block letters of “PARTY HARD?” written backwards, with small scribbled lines beneath presumably indicating the very small tracklist]

[the third depicts an open CD case with four simple human figures in a square on the left half, with the notes:] White background ANDREWx4 photos (maybe thin red outline around outside edge?) [There is a CD with “ANDREW W.K.” on the right half of this sketch, with the notes:] White tray all white disk songs and info listed out in negative CD color (or red?)
							——————>

[PAGE BREAK 233]

[this page contains two sketches of four-panel CD booklets folded out.  At the very top of the page with an upward-facing brace is the text:] ALL BLACK & WHITE

[the first sketch is labeled] OUTSIDE [first panel contains a numbered scribble list, labeled:] TITLES [with the notes:] lyrics to some songs, all red ink on white [the second panel contains another numbered scribble list, with the note:] SONG TITLES & CREDITS [the third panel is the four simple human figures in a square from above, with the note:] B.T.G. [the fourth panel has large text saying] ANDREW W.K. [with the note:] F.C.

[the second sketch is labeled] INSIDE [each panel is headed with the text] ANDREW W.K. [and has two standing figures, the right-hand figure of each stands above the word:] ANDREW [which begins almost completely faded in the first panel, and gets bolder as you proceed to the right.]

										EIGHT ANDREWS

[PAGE BREAK 234]

[the dark black marker text from the next page bleeds through, mirroring the text. It is easier to read than the next page that it was actually written on.]

[no spoilers though, you’re going to have to scroll a few more lines]

[PAGE BREAK 235]

[wide shot of the final page of the book, with the ‘useful information’ table inside the back cover also visible]

MAKE IT LOOK LIKE I WENT ||[illegible - maybe back?]|| AND PLANNED ALL OF THIS IN ||illegible - maybe advance?]||

[PAGE BREAK 236]

[back cover of the book.  The barcode reads:] 0 41551 50101 1

[ ~ fin ~ ]

Acronyms are utilised heavily throughout the text, below are some possible identifications proposed by various members of our online community, thanks to all who contributed:

Initial 	(In order of appearance)	Potential Solution(s)		
F.V.		Frank Vierti		
M.D.		Mario Dane, Mulholland Drive, Marcel Duchamp https://en.wikipedia.org/wiki/Marcel_Duchamp		
S.M.		Steev Mike		
S.K.		Stanley Kubrick		
D.L.		David Lynch		
L.H.		Lost Highway		
D.C.		Dale Carnegie, Deepak Chopra		
H.T.W.F.A.I.P.		How To Win Friends and Influence People		
C.S.E.O.I.		Covert Subconscious Explosions of Imagination		
O.T.T.O.		Over the Top OTTO		
CTs		Chuck Taylors, Cross Trainers		
C.W.O.		Clockwork Orange		
L.H.C.		Louise Harland Corporation		
M.F.		Musician's Friend		
O.W.		Orson Welles		
H.G.W.		H.G. Wells		
C.I.		Cliff Irving		
H.H.		Heinrich Himmler, Hermann Hesse, Howard Hughes		
A.F.W.K.		Always Fun Work Kill, Andrew Fetterly Wilkes-Krier		
W.K.		Warhol Kaufman		
A.W.		Andy Warhol		
A.K.		Andy Kaufman		
H.D.		Hotdog		
PCP		Phenylcyclohexyl Piperidine		
DDB		Don't Drink Beers		
DBD		Damn Beer Drinkers, Destroy Build Destroy		
NDAB		Never Drink a Beer		
ISAH		I smell a hoax		
T.W.		True Will, https://en.m.wikipedia.org/wiki/True_Will		
J.C.		John Cage		
T.G.		Throbbing Gristle, https://en.m.wikipedia.org/wiki/Throbbing_Gristle		
J.E.K.		James E Krier		
IDJ		Island Def Jam?		
UNI		Universal?		
SH		???		
T.S.D.		???		
K.W.		Kristine Williams		
PX		???		
MED		Medical?		
J.F.		Jack Finney, https://en.m.wikipedia.org/wiki/Jack_Finney		
G.R.		Geraldo Rivera		
AC		Aleister Crowley Al Capone		
MJ		Michael Jackson, Michael Jordan		
ADC		Andrew Dice Clay		
CS		Cindy Sherman, https://en.m.wikipedia.org/wiki/Cindy_Sherman		
SF		Sigmund Freud, https://en.wikipedia.org/wiki/Uncanny		
PWZ		Peter Wessel Zapffe, https://en.m.wikipedia.org/wiki?curid=24744		
GC		George Clinton		
F/P		Funkadelic/Parliament		
MdeS		Marquis de Sade		
GGA		GG Allin		
TP		Thomas Pynchon		
AC		Aleister Crowley		
HGA		Holy Guardian Angel, https://en.m.wikipedia.org/wiki/Holy_Guardian_Angel		
KA		Kenneth Anger, https://en.m.wikipedia.org/wiki/Kenneth_Anger		
LW		Leila Waddell, Ludwig Wittgenstein, Linda Weintraub, https://en.m.wikipedia.org/wiki/Leila_Waddell		
JD		John Dee, Jacques Derrida, https://en.m.wikipedia.org/wiki/John_Dee, https://en.wikipedia.org/wiki/Jacques_Derrida		
GH		Gregory Hill, https://en.wikipedia.org/wiki/Malaclypse_the_Younger		
M the Y		Malaclypse the Younger, https://en.wikipedia.org/wiki/Malaclypse_the_Younger		
KWT		Kerry Wendell Thornley, https://en.wikipedia.org/wiki/Kerry_Wendell_Thornley		
OKR		Omar Khayyam Ravenhurst, https://en.wikipedia.org/wiki/Kerry_Wendell_Thornley		
TR		Tony Robbins, https://en.wikipedia.org/wiki/Tony_Robbins		
NH		Napoleon Hill, https://en.wikipedia.org/wiki/Napoleon_Hill		
MPH		Manly P Hall https://en.wikipedia.org/wiki/Manly_P._Hall		
HPB		Helena Petrovna Blavatsky https://en.wikipedia.org/wiki/Helena_Blavatsky		
MD		Mulholland Drive		
GH		???		
BDA