Plan A, B, C, D

[garote]

Well. Presently, I'm leaning towards either Plan A or Plan B. Some additional thoughts:

Plan C: I don't think I can rally the support of my musically inclined friends to go through with this, really. In fact, I'm pretty sure there isn't a single friend of mine interested in living in the Sacramento area who doesn't live there already.

Plan D: It's easy enough to escape all these material possessions, but it's not so easy to get back into the craft I'd be leaving. Perhaps it'd be better for me to arrange my travel plans for a later date, when it's less of a one-way-ticket.

Plan B: Sure, it's boring, comparatively, but if I'm going to set myself up for future advancement, the time to buy property in Sacramento is now, and no mistake.

Plan A: Yes, Zeugma, there is a very 'temporary' atmosphere in most college environments. And I am definitely feeling too old to waste my time experimenting and fooling around ... I've already learned all I'm gonna learn from that. But here's a question for you now: Can you reccommend any better place for me to go, to locate the types of people I might care for a friendship and/or relationship with? I can't think of one. If you had no wife or friends, where would you go looking to meet them?

Comments

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[garote]

Well, the reason I separated them is because, if I try to do all three half-assed, I probably won't be satisfied with my work in any of them.

Investing in a house means I'd need solid, steady income, and my job would have to take priority over everything. I wouldn't be able to take many days off in a row to be in a jam session, and I wouldn't be able to gerrymander my work hours around a schedule of local college events, let alone a schedule of classes.

What's more, setting up a music studio means I would need a few partners in crime, to offset the burden of making those big house payments.

Re: :

[ex-zeugma416.livejournal.com]

This is true. You could create some kind of arrangement like what I saw my painter friends doing, in Denver. Everybody who 'belonged' to the studio contributed a portion of the costs to, as it happened, the painter who owned the building and operated her furniture-refinishing business out of the adjoining studio.

Nobody lived there, of course, and that makes things a little different from what you're proposing -- i.e., since it would be in your house, people couldn't just drop in whenever they felt like it to do work or goof off, and believe me, that studio was almost constantly occupied with people painting, since everybody had a key and it was a little haven for doing work and relaxing, not to mention having little parties with 'safe' people (which is to say, people who wouldn't stumble into wet canvases if they got drunk).

See my journal for the long anecdote I wanted to post here, in this connection.