E3: Borrowing from Somebody Else’s Face; S9: The title should be "Make It Useful," but I would never call myself useful.

OK, I’m making this description really short, because literally every time I start to write, it quickly turns into something that needs to become its own episode.So, guess what that means!The next episode I post will be the introduction to or description of this episode. BUT…Here, I’ll take the risk of giving you one more thing… which is the prompt that I gave to ChatGPT to get it to make the song. It worked on the first take. I tried one other thing… so that gave me more music that I could stem-split the vocals off of and use as background for the monologue.Okay, so here is a new monologue for an episode, and as I say in it, I’d kind of like to do a song. And so what I’m gonna ask you to do is like lyrics and then with bracketed instructions to Suno for what to do with the music and the voice as you’re doing it, and then also a up to 1,000 character Suno style guide that also provides a general sense of both the music style and the vocal delivery style. And I want it to be a male singer, and I don’t know what style. I want you to pick a style without asking any questions. And because what often happens with this is that, you know, you write something and it at least gets me over the hump of, you know, of dreading having to figure out what to write myself, because it’s easier to just like edit what you’ve done, and usually I end up writing my own thing anyway, maybe with just a few words from you. But it gets me started. And what I think I want you to go into here, what I’m considering, is going into the kind of desperate need that maybe I have that is evidenced through this work, that I have a desperate need to make all of my life experiences be useful and mean something. And, I mean, I seem to be achieving that, but it’s kind of a weird way to make a living. And, you know, you have to be cagey about what my work is. You can’t really talk very clearly about what that is, even though I think you know what I do. And then I wouldn’t mind if you also talked about this process that I’m doing with you, where I just, you know, I spill all my guts into a monologue, and then I hand it to you to try and get you to at least get me over the hump of the terror of trying to make a song out of it that I’m actually gonna like, and wasting a whole bunch of time if it doesn’t work. But it usually does work. It’s just kind of like the groups that I run, right? Like, I run groups with the people that I work with where there’s no predefined curriculum or thing that we’re gonna talk about. I just kind of go in there, and then see what the energy is in the group, and how it’s mixing with my energy, and then I try really hard to give people options and make sure that I don’t go down a road that people don’t want me to go down. And when I go down a road that is complex, while I’m doing it, I let them know that this is complex and that it might land in a fairly strange place in their nervous system. But if it does, that means it’s because it’s already there, right? I’m not causing that. I’m just activating it and allowing you to bring it up in an environment where you’re around a person who has obviously kind of lived through something that is activating you, but that they’re okay. And then, you know, you start to maybe get a different picture on what’s going on for you because you relate to somebody and you feel like you’re not okay, and yet you look at them and they are. So go ahead and make me the, you know, draft a lyrics. Let’s make it a three to four minute song. Lyrics, I want there to be some kind of chorus, but I like choruses that just have a few words in them that are the same, so it feels like a chorus, but a lot of the words may have changed the second time it’s sung. And, you know, put the verse and verse numbers in brackets and chorus in brackets and like an outro or whatever other things that will tell Suno what to do. And also do the up to 1000 character style guide.