Mike Nobody - GLITCH Portait 022

“All the various styles are organically connected to one another. I’m an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.” ~ John Zorn

“Cute, cool, and creepy”, is how I have been described by some.
Usually, I am classified by my contemporaries as an outsider artist-musician.
Davin Brainard (time Stereo) and Warren DeFever (His Name Is Alive) observed that I do not intentionally TRY to be perceived as weird, that I just naturally AM….. making comparisons to Wesley Willis and Daniel Johnston. I guess that I will just go along with those assessments.

Bass, Baritone, and other Guitars /

Electronic, and Junkyard Percussion /

Keyboards & Toys /

Plunderphonics & Noise /

Mixed-Media Paintings, Drawings, and Other Art

I enjoy creating what I refer to as “Prog-Punk Noise-Rock”, an eclectic pastiche of many genres and styles. I have collaborated with many other artists, often utilizing an unusual hybrid bass + guitar rig.

I have always been deeply into art and music; drawing, painting, playing with tape recorders and making noise. I built my first guitar from a badly beaten-up body that I found in someone’s trash. A friend’s dad gave me the electrical guts from an unknown 1950’s guitar. Additional parts were purchased from a music store and improvised from pieces of junk.

When I was a kid, back in the 1980’s, I was just a runt of the Detroit hardcore punk / heavy metal scene . Lacking enough money to buy any really good equipment, I purchased a cheap microphone at a pawn shop and passed myself off as a vocalist. I sang in whatever groups that I could find, to gain experience and learn whatever that I could. Mostly, it was shitty cover bands, playing in basements, getting yelled at by uninvited drunks that we suck. Eventually, I improved my bass & guitar skills, playing in many short-lived groups that went nowhere.

I wrote for The Jam Rag, a widely-read local music paper, while still a teenager, making friends with other musicians and artists along the way. During the 1990’s I was a cameraman, roadie, and occasional collaborator with Princess Dragon-Mom, Mog Stunt Team, His Name Is Alive, etc.. I also performed in a few experimental noise groups; Bionics, Edible Audio, Fresh Farm Raised Catfish, etc.

The Island of Misfit Noise began in the summer of 1998 with only Mystic MarshaKat and myself. She played keyboards & guitar. I played bass & guitar. Our duo’s name changed a couple of times, before settling on the IOMN. We had both been members of N2-Submission, featuring The Impaler “Detroit’s Vampire Poet”. Other musicians came and went during a period of 15 years, with the both of us being the only constants of the group. She finally also left in early 2013.

MarshaKat and I remain friends. She is an experienced professional photographer and business manager, among many other skills that she possesses. She will probably continue to assist me in some capacity, just not as a full-time band member.

I resurrected the IOMN as a “virtual band” recording project in late 2014, with collaborators from Michigan to Australia. Exchanging music back-and-forth online until we had completed enough songs for the EP, “Stone Soup & Mulligan Stew”. The style of music we made is very freeform. Depending on the contributions put into it, it can range from pop-sounding and accessible to extremely noisy and irritating. A few members from the IOMN have joined me in other projects. Some of them have experience in film & television and are working toward producing a low-budget science fiction movie with me, appropriately titled The Island of Misfit Noise.

After years of trial-and-error, I have come to the conclusion that I simply lack the necessary social skills to keep a stable group together. I tried for ages to put an ideal band together. But, I could never manage it, not for very long. I am focusing on composition and recording, for the time being. I will return to live performance again when I am certain that the project won’t immediately disintegrate. Assembling the right line-up and keeping it intact is a huge obstacle. I would like to eventually have a live group again:

  • Myself on bass / vocals / tapes.
  • An open-minded creative drummer, who could easily switch between different styles. Someone who is comfortable playing with additional percussionists, drum machines, tapes, samples, noise, etc..
  • Two or three guitarists who also contribute additional percussion, keyboards, samplers, or other instruments.

Maybe I will just go back to replacing musicians as I go along…. again. I thought about possibly booking a few shows, playing 1/2 a set alone. Then, whoever is willing to get onstage with me, whoever shows up, can join in as part of the band. It is not the greatest idea. But, it is the best that I can come up with right now.

Some of my current projects;

  • Mike Damn Nobody is the moniker of my harsh noise project, similar to artists such as Merzbow, Masonna, Solmania, Hanatarash, C.C.C.C., MSBR, Incapacitants, Evil Moisture, The Haters, etc.. I might book some gigs for this again, eventually. Recordings are available digitally and also as “RecycleTapes”.
  • Theee Urban SpaceCat (Cassette-Zine) is an upcoming publication of art, music, commentary, found objects, and almost anything else packaged with a cassette tape or compact disc. I intend to publish an issue every three or four months (depending on my finances). It is intended as an outlet for all of my artistic endeavors in one package, modeled after the letters that I have sent to pen-pals for decades.
  • The Island of Misfit Noise musician collective, comics, movies, and all manner of media

♛ ★ ★ ★ ★ ★ ★ ★ ★ ☆ Prog ☆ Punk 🐱 Noise ☆ Rock ☆ ★ ★ ★ ★ ★ ★ ★ ★ ♛

I have received some frequently asked questions from collaborators. So, I will just add this here… if anybody really wants to know:

Gear Geek Stuff:

I don’t have anywhere to jam, just an apartment.

I have two multi-track machines;

  • one cassette (Tascam 488 MKII 8-track Portastudio)
  • one digital (Roland VS-1688 Digital Audio Workstation)

On my computer, I use whatever freeware programs that are available. I also collect various cassette, microcassette, and reel-to-reel tape recorders.

I don’t have very high quality microphones;

  • an old abused Radio Shack mic
  • another stolen from a karaoke machine
  • and several cheaper models scattered around
  • I also have a modified telephone receiver, with an XLR jack installed.

I prefer recording electrical instruments directly through preamps or Line 6 PODs and mic-ing up a “room sound” for acoustic tracks. Analogue tape is good to get a saturated compression sound, well-suited to percussion instruments or creating other tape noises. Digital is good at getting a cleaner sound. I’m recording the bulk of my material at home with whatever tools that are available to me, then adding overdubs and finishing the final mixing somewhere with a good engineer and higher quality facilities.

I used to have a homemade drum kit, affectionately referred to as my “ShitKit”. It was a hodgepodge of cheap drums acquired from the Salvation Army for $50 dollars. Instead of cymbals, I added pieces of scrap metal and junk, for a clunkier sound. Unfortunately, it was mistakenly hauled away by scrappers from a friend’s garage. I am trying to rebuild another, gradually, but have nowhere to practice.

I have some cheap keyboards and electronic drum pads. I am collecting different models of drum machines and samplers as I go along. If I had the money, I would like to invest in a proper drum kit of my own someday. I prefer acrylic drums, for their tonal consistency and durability. Zickos invented them and are the best, IMHO. I am also impressed by the Korg Wavedrum Global Edition, Roland SPD-30 Octapad, and Roland TD-12 V-Drums.

I am always making improvements to my setup. I would like to build custom instruments for myself, eventually. I will have to get by with what I have, until I can afford it. I would love to add other instruments to my arsenal; maybe a Rickenbacker 4001 bass, a Fender Bass VI, or a Fender Baritone Guitar.

I play the bass and guitar more alike each other than most players do, I think. My rig has evolved over time into something unusual, combining bass & guitar together. I  split the instrument signal three ways, with various effects, into a “sonic sandwich”;

  • one through a bass amp (SWR)
  • one through a lead guitar amp (Marshall)
  • one direct to PA (Line 6 POD)

Vocals are divided between ordinary vocal microphones and a modified telephone receiver through various effects.

Miscellaneous samples and noise collages are prepared on cassette tapes, then replayed with a pair of foot-controlled Dictaphone machines, fed directly into the PA.

I have two basses;

  • a 1987 Guild Pilot with tremolo bar
  • a Jay Turser “Beatle Bass” knock-off

The shorter-scale viola style bass is intended for playing cleanly, three-fingerstyle. Typically, I use recycled copper/nylon picks with the Guild Pilot, for more attack and articulation.

I have a Line 6 Variax guitar, to achieve a wide variety of tones.

I also have an Ibanez RX-Series guitar with a Seymour Duncan Humbucker installed at the bridge. I usually keep it tuned down to “Drop-A”, like a baritone, because I’m too broke to buy a real one.

An unknown acoustic guitar sits in the case most of the time.

Past experiments in circuit-bending and modified instrument building have yielded mixed results.

Creativity Stuff:

My songwriting style is a far-reaching mixture of diverse sounds juxtaposed together. I like combining a bit of everything, when I can.

Sometimes it is harmonious.

Sometimes it is schizophrenic.

Sometimes it is simple and accessible.

Sometimes it is noisy and irritating

It can be almost anything, depending on the song. I am now writing within three basic categories;

  1. Solo. Material that I can play alone without additional players.
  2. Band. Material that requires other musicians to perform live.
  3. Album. Material that is very difficult or impossible to be played live at all, recorded solely for album releases.

If there were references that I could make to my “sound”, it would be a pretty damn long list. Some notable influences include;

  • ¡Tchkung!
  • Alice Donut
  • Bad Brains
  • Bad Religion
  • Beatles
  • Beck
  • Jared Warren (KARP, Big Business, Melvins)
  • Bootsy Collins (Funkadelic)
  • Bran Flakes
  • Robert Smith (The Cure)
  • Brian May (Queen)
  • Buzz Osbourne (Melvins)
  • Captain Beefheart (The Magic Band)
  • Carl Stalling
  • Caroliner
  • Chris Squire (Yes)
  • Chuck Mosley (Faith No More, Bad Brains)
  • Cliff Burton (Metallica)
  • Comets on Fire
  • Comparative Anatomy
  • Cop Shoot Cop
  • Crash Worship
  • Crass
  • Daft Punk
  • Dale Flattum (Steel Pole Bath Tub, Tumor Circus, Milk Cult)
  • Daniel Johnston
  • David Bowie
  • David Grohl (Scream, Nirvana, Foo Fighters)
  • Dennis Dunaway (Alice Cooper)
  • Destroy All Monsters
  • Gerald Casale (Devo)
  • Bob Log III (Doo Rag)
  • Doug Henderson (Krackhouse, Spongehead)
  • Dust Brothers (Beastie Boys, Beck)
  • East Bay Ray & Jello Biafra (Dead Kennedys)
  • Einstürzende Neubauten
  • Evolution Control Committee
  • Fat Mike (NOFX)
  • Wayne Coyne (The Flaming Lips)
  • Flipper
  • Frank Zappa (Mothers of Invention)
  • Geddy Lee (Rush)
  • Geezer Butler & Toni Iommi (Black Sabbath)
  • Gene Simmons & Ace Frehley (KISS)
  • Godheadsilo
  • Greg Ginn & Kira Roessler (Black Flag)
  • Grotus
  • Hazil Adkins
  • Helios Creed (Chrome)
  • Hide (Ultra Bidé)
  • Holy Fuck
  • Ian Mackaye (Minor Theat, Fugazi)
  • Ichirou Agata (Melt-Banana)
  • Iggy Pop & The Stooges
  • Jaco Pastorius (Weather Report)
  • Jad Fair (1/2 Japanese, Strobe Talbot)
  • Jerry Garcia (Grateful Dead)
  • Duane Denison & David Wm. Sims (The Jesus Lizard)
  • Jimi Hendrix
  • Joey Shithead Keithley (D.O.A.)
  • John Bonham & Jimmy Page (Led Zeppelin)
  • John Oswald (Plunderphonics)
  • John S. Hall & Bradford Reed (King Missile)
  • John Zorn (Naked City, Painkiller)
  • Juan Garcia Esquivel
  • Jucifer
  • Kevin Rutmanis (The Cows, Melvins, Hepa/Titus)
  • Killdozer
  • Larry Graham (Sly & the Family Stone, Graham Central Station)
  • Kevin Strickland & Larissa Strickland (Laughing Hyenas)
  • Lemmy Kilmister (Motörhead)
  • Les Claypool (Primus)
  • Lightning Bolt
  • Black Pus
  • Malcolm Young & Angus Young (AC/DC)
  • Marc Bolan (T. Rex)
  • Mark Sandman (Morphine)
  • Masahiko Ohno (Solmania)
  • Masonna
  • Curt Kirkwood & Cris Kirkwood (Meat Puppets)
  • Masami Akita (Merzbow)
  • Mike Patton (Faith No More, Mr. Bungle, Fantomas, Tomahawk)
  • Mike Watt (Minutemen, fIREHOSE)
  • Negativland
  • Omoide Hatoba
  • Pat Smear (Germs, Nirvana, Foo Fighters)
  • Paul Leary (Butthole Surfers, Melvins)
  • Pussy Galore
  • R. Stevie Moore
  • Ramones
  • Raymond Scott
  • The Residents
  • Rob Wright & John Wright (NoMeansNo)
  • Roky Erikson (13th Floor Elevators)
  • Root Boy Slim & The Sex Change Band
  • Scott Lucas (Local H)
  • Sebadoh
  • The Shaggs
  • Shannon Selberg (The Cows, Heroine Sheiks)
  • Shockabilly
  • Shonen Knife
  • Six Finger Satellite
  • Skeleton Key
  • Sonic Youth
  • Kim Thayil (Soundgarden)
  • Space Streakings
  • Stan Lee & Leonard Graves Phillips (The Dickies)
  • Stanley Clarke
  • Steve Albini (Big Black, Rapeman, Shellac)
  • Subhumans
  • Superconductor
  • Syd Barrett (Pink Floyd)
  • Tatsuya Yoshida (Ruins)
  • They Might Be Giants
  • Thin Lizzy
  • Throbbing Gristle
  • Thrones
  • Tom Morello & Tim Commerford (Rage Against The Machine)
  • Tom Waits
  • Tragic Mulatto
  • Victims Family
  • Violent Onsen Geisha
  • Ween
  • Weird Paul
  • Wesley Willis
  • Wildman Fischer
  • Yamatsuka Eye (Boredoms, Hanatarash, UFO or Die)
  • Zach Hill (Hella)
  • Zen Guerrilla
  • ZZ Top

, etc., etc., etc., etc., etc., etc.

In the past, I bounced my ideas off of other bandmates to get a feel for what their capabilities and preferences were. I depended very much on their input to filter my ideas through, to find the direction that we were going in. It helped to motivate me. I was constantly trying to get feedback and be as democratic as possible. But, this approach also greatly slowed us down, frustrating everyone. In hindsight, it was kinda like driving a car with the parking brake always on.

I have been diagnosed with severe bi-polar depression, social anxiety disorder, and have obsessive-compulsive tendencies. Left by myself, I don’t accomplish very much. Paradoxically, I am more prolific when others get out of my way and let me work alone. It is a Catch-22 that I have been unable to escape. I am changing my methodology, being more decisive and writing more independently. It is taking time for me to adjust to this.

My skills are pretty good, not virtuosic… but still pretty good. I think that I am a better bassist than a guitarist. Most musicians that I have worked with never used sheet music and I am out of practice. Although, I would like to get back into the habit again. I don’t believe that I am very good at improvisation, though I have done it when required. If I have to make up something quickly, on the fly, I am more comfortable making simple rhythms and random noises.

I tried for years and years to arrange dual drummers together, Grateful Dead or Doobie Brothers style. It was great while it lasted. We had a Miles Davis “Bitches Brew” kinda jam happening a few times. But, most drummers are simply not into that, apparently. Maybe if the guitarists were to double on extra percussion, part-time, then the main drummer would still be interested. I have been told that drummers often prefer to be guitarists, that this is a common thing. I suppose that makes some sense. But, I really prefer someone who enjoys drumming. Someone who spends time improving their skills, y’know?


I tried to take up drumming. But, my foot coordination was terrible and I ended up positioning the bass drum sideways, timpani-style, playing it like Moe Tucker (Velvet Underground). If I am just recording all of the instruments by myself, I am unsure if I could accomplish everything that I want to.

My vocals tend to be on the high and nasally side. I sometimes give it a little growl on the low end, with effects added.

There are not many groups that I believe I would fit into if I didn’t begin from scratch. I never had any delusions about “making it big”. I am content if I make enough money to cover expenses, have a good dinner, and pay a few bills. I have two Facebook groups to exchange music and talk (one public, one private).


If you want to check out upcoming events, or items available, add yourself to my mailing list.

Some Influences On My Bass


I never felt like I had a particular “style” of playing or a specific tone.

Maybe I do and cannot hear it.

But, I always looked for little things in other players that would be useful in the way that I play and add them to my toolbox.

Everything became another color to paint with, whenever I needed it.

I generally use whatever the given song needs.

But, I try to combine things together in unusual ways, if possible.

I prefer ground wound strings over the more commonly used roundwounds.

They’re easier on my fingers and have a smoother tone, almost like flatwounds… but, a little brighter.

If I use distortion or any effects I am more likely to use a pick.

I prefer 1mm recycled copper/nylon picks.

If I use my fingers, it is usually to get more subtle tones from the actual strings.

I typically play with three fingers (ring, middle, index) instead of two.

It makes triplets and odd-meter pieces easier to play.

I wanna learn to play a bit more like country guitarist Danny Gatton, who had a banjo-like fingerpicking style using four or five fingers on the guitar.


Tim Commerford (Rage Against The Machine);

Lemmy Kilmister played guitar in the psychedelic band Sam Gopal and, for a while, roadied for Jimi Hendrix. “I’ve never come across a better guitarist than Jimi. Within a couple of years, I’d seen all the tricks but I wasn’t good enough,” he admitted. “That’s why I gave up the guitar and picked up the bass.”

Hawkwind‘s rhythm section of Dave Anderson and Terry Ollis was replaced by Lemmy and Simon King, both of whose style differed notably from their predecessors. This changed the band’s overall musical direction. Lemmy was a self-confessed inept guitarist who used volume and stagecraft to cover his lack of ability. He became a bassist by accident after joining the band, thinking he was replacing Huw Lloyd Langton. Lemmy said
“ I knew the guitarist because he took eight tabs of acid and then we never saw him for five years. ”
However, Dave Brock decided to play lead and continue without a second guitarist. Hawkwind’s bass guitarist failed to turn up and Lemmy was available. He said:
“ I learned to play bass onstage with Hawkwind… I go out onstage with this bass around my neck, and it was a Rickenbacker, too. The bass player, like an idiot, left his bass in the truck. So I’m learning. Nik Turner says to make some noises in E. “This one’s called You Shouldn’t Do That.” Then he walks away. ”
This led to Lemmy’s very unorthodox technique. Lemmy stated:
“ I just don’t play like a bass player. There are complaints about me from time to time. It’s not like having a bass player; it’s like having a deep guitarist.”

“You don’t tweak Lemmy’s bass sound,” producer Tony Platt noted from the get-go. “There’s a story that goes with that actually.”

He went on to explain how Lemmy’s Marshall amp blew up during one of the recording sessions. It was Friday and the boys needed the machine back on Monday. Seemingly lucky, the guitar tech managed to find someone who can get the job done in super-short notice.

“So off he went and we came in on the Monday and I said, ‘Did you get the amp fixed?’, and he said, ‘Yes, absolutely no problem.’ I said, ‘What was wrong?’ and he said, ‘Oh, it was just a couple of things that had burnt out. But while he was in there, this guy had all the original circuits and there were a few bits in there that were strange so he’s kind of put those right.’

“I said, ‘He’s done what?!’ The guitar tech said, ‘Yeah, there were bits of the circuit that weren’t the way they should be and he’s put them back to where they should be.’ I said, ‘No, no, no, no. Lemmy’s amp has been modified by a series of guitar techs over the years to sound like Lemmy’s amp. You don’t put it back to a normal Marshall. You leave all this stuff in there.'”

He continued, “Of course we plugged it in and it sounded limp and it just wasn’t the right thing. Fortunately this guy could remember what it was he changed to get it sound like it did. It was one of those moments of, ‘Oh, my god. No. This is terrible.'”

Greg Ginn’s guitar tone evolved from the fact that Panic / Black Flag had no consistent bass players.  So, the guitar needed to fill up the lower frequencies better.

With a modified lucite Dan Armstrong guitar plugged into an old Peavey PA, he would overdrive the shit out of it, making it sound more like a very deep guitar amplifier.

Ginn’s guitar sound is distinctive, often recognizable within a few notes. His guitar tone is typically characterized by a lack of highs and a high amount of mids, which creates a muffled sound. Black Flag singer Henry Rollins has repeatedly compared Ginn’s playing not to any other guitarists, but to free jazz saxophonists Ornette Coleman and Eric Dolphy. These may initially appear unlikely comparisons, but a closer examination reveals some similarities: Like both saxophonists, Ginn tends towards highly emotive playing and has a thorough grasp of musical harmony, though often choosing to play notes that are technically “incorrect” but which frequently carry a greater visceral impact than “proper” playing. Ginn is an avid jazz fan, stating he generally prefers music by saxophone or piano players.

He and bassist Kira Roessler gradually moved to using solid state preamps, notably early models made by Roland.

Dee Dee Ramone / CJ Ramone (The Ramones);

Bootsy Collins has an interesting setup.

Each pickup signal is dedicated to a separate effects chain and amplifier.

So, he is able to use a wide combination of elements to get different sounds when he needs them.

Likewise, Chris Squire (Yes) separated the bridge pickup from the neck’s signal, splitting them into stereo, using both bass and lead guitar amps.

This gave his sound some overdrive without muddying up the low end.

Geddy Lee (Rush) abandoned live amplifiers altogether.

Since 1996, Lee no longer uses traditional bass amplifiers on stage, opting to have the bass guitar signals input directly to the touring front-of-house console, to improve control and balance of sound reinforcement.

Faced with the dilemma of what to do with the empty space left behind by the lack of large amplifier cabinets, Lee chose to decorate his side of the stage with unusual items.

I kinda added this concept to the Chris Squire / Bootsy Collins practice of using multiple amplifiers. So, one line goes from a DI, straight to the mixer.

Rush _2359_RushRedrock3

I don’t slap nearly as much as some bassists.

But, I still like using some of these techniques when I need them.

Norwood Fisher (Fishbone);


Larry Graham, originator of the slapping technique.

One thing I like about Jaco Pastorius is that, although he is highly regarded as a great bassist, he never slapped…at all.

I also love me some groovy effects as much as the next guy.

Juan Alderete + Omar Rodriguez-Lopez (Mars Volta);

There is another post about my supposed “sound” and “look”:


Is There a MikeNobody Sound or Look? Maybe.


When I am jamming with other people, they motivate me and kinda help focus what I am doing.

So, I am always bouncing ideas back-and-forth with them, trying to see where their talents and interests are.

If half of the group is into a specific style of music, that gives me a vague reference to work from.

I know what will work and what won’t.
My improvisational skills are kinda crappy, I admit, though.

Ironically, I need people to get out of my way and let me work alone when I am writing original music.

Cutting & pasting jam sessions into songs kinda works.

If I have no one to work with at all, I am kind of at a loss.

The music can go in all sorts of different directions.

So, finding my own “sound” can be difficult sometimes.

I am trying to shape what I do into a cohesive sound of my own, without tying my hands too much.

I would like to maintain the freedom to play whatever that I want.

Near as I can figure it, I guess that I kinda sound a little like Beck with a weird bass setup and tapes, maybe.

My working process, and limited resources, probably have more to do with any style that I may have than anything else.

I don’t have a drummer.

So, for percussion I must rely on drum machines, keyboard sounds, and whatever found objects that I can bang on.

I do not have other band members.

So, I rely on recordings of myself on guitars, noises, and assorted samples, to fill out the sound.

Compositionally, I like the cut & paste approach of artists like Magma, Cardiacs, Omoide Hatoba, Boredoms, Melvins, Ruins, Mr. Bungle, Frank Zappa & The Mothers of Invention, John Zorn, Carl Stalling, etc. and “mixtape style” of the Butthole Surfers, Ween, Faith No More, David Bowie, The Beatles, Led Zeppelin, etc.

I like a mixture of Hi-Fi and Lo-Fi in recordings = Mid-Fi!

But, I prefer a specific squashed compression sound found on early Primus, Ween, and Butthole Surfers records.

I was able to ask guitarist / producer Paul Leary once about how he achieved that sound for the Butthole Surfers.

He said it was due to cheap tape recorders, and only having one microphone.

So, I think they recorded directly from their preamps a lot.

I know that Primus did.

That works great for me, since I only have shitty cheap microphones anyway.

Vocally, I have a kinda nasally high-pitched voice that I never liked.

Kind of a bit like Neil Young, Wayne Coyne (Flaming Lips), Kurt Cobain (Nirvana), Curt & Chris Kirkwood (Meat Puppets), Marc Bolan (T. Rex), etc.

Although, I try to give it a little bit of a Tom Waits-like growl on the lower end.

I guess that I compensate for my voice with cheap microphones and whatever vocal effects that are available, trying to bury it.


Visually, of course, everything is very cheap by necessity.

I like papier-mâché and cardboard props and sets.

Puppets and miniatures can be very useful, too.

Green screen, data-bending, and other cheap effects.

My mixed-media paintings and artwork kinda have a cheapniz aesthetic, too, I suppose.

I use stuff from thrift stores, hardware stores, dollar stores, and found materials a lot.

I tend to visualize the exterior world, the “real” world, in black & white colors.

A cold, decaying, dying, world.

The interior world, the world of the mind and imagination, by contrast is warmer and more colorful.

It is vast and endless.




Sigmund Freud and Albert Einstein both wore clothing everyday that was nearly identical to all the other clothes that they owned.

It saved time finding something to wear, when their entire wardrobes were virtually the same.

My physical appearance doesn’t change very much, day-to day, either.
Nearly everything I own is secondhand from; yard sales, garage sales, the Salvation Army, Goodwill, Value World, etc.
My typical everyday outfit includes;

  • Black denim jeans (with a bumflap covered in patches). The zipper is held up with a grenade pin ring.
  • Converse Chuck Taylor hikers (with boot laces) or…
  • Military surplus “Mickey Mouse” boots, in the snow or cold damp weather . They are awesome at keeping warm & dry.
  • Recycled rubber black belt (with Captain America shield buckle)
  • T-shirt
  • Button-up shirt, unbuttoned (preferably black or flannel, if it is cold outside)
  • A jacket or coat (varies, depending on the weather)
  • Red + glitter nail polish
  • Buddha + mood rings
  • Goatee & long hair (tied back / up, mostly when I am driving or eating).
  • Bootlace necklace with miscellaneous items; 100 year old penny on an Indian arrowhead, green Buddha, cheap padlock.
  • Keychain + wallet + cellphone holder. It is kind of a cumbersome mess, I admit. But, if I don’t keep them chained to my body I will most definitely forget them somewhere. Never fails.
  • I used to dye my hair different colors (bright red, pink, purple, black, etc.).
    I might do that again, especially if I begin to get grey hair. My 80 year old grandmother stopped dying her hair recently, after forty years, and is now completely albino white. It looks kinda odd.
  • I try to remember to bring my Everyday Carry bag (“man purse”) wherever I go, but sometimes leave it behind. Ideally, it should have whatever is needed in an emergency. Mine needs some updating & restocking. So does my Bug-Out-Bag.

I will probably post more about my gear setup & playing techniques later.