From left to right, top to bottom:
From left to right, top to bottom:

2025 collage


From left to right, top to bottom:

COLLAGE FOR YEAR NINETEEN-EIGHTY

Origin

edit

Dashiell has reported that he discovered music by The Caretaker in early 2022. His interest in researching Alzheimer's disease led him to discover the album series Everywhere at the End of Time. Reportedly, the idea for writing a book based on Dashiell’s interpretation of the album was cultivated. Although an 11-year-old Dashiell began writing it in a notebook soon after, he soon abandoned the project, and the incomplete book has been lost. Dashiell has since praised Everywhere for “shaping him into the man he is today” and one of his favorite albums of all time.

In summer of 2022, Dashiell discovered the Caretaker’s earliest projects, Selected Memories from the Haunted Ballroom (1999), A Stairway to the Stars (2001) and We'll All Go Riding on a Rainbow (2003), the three experimental albums used in The Haunted Ballroom. Dashiell has mentioned that the albums “completely blew his mind” and that he would listen to them recreationally.

Original story

edit

The screenplays produced by Dashiell in 2022 and 2023 have been analyzed extensively, but have drawn criticism for their nonsensical story and ominous dialogue. Nevertheless, they are considered to be the groundwork for Dashiell’s future writings. Most of the writing on the scripts are color-coded to match the album covers of the Caretaker’s work.

First track

edit

The first iteration for the screenplay of the first track in Selected Memories, “The Haunted Ballroom” was possibly completed in August 2022 or earlier. The lost screenplay allegedly involved Edmund (or possibly, Esmund) in a ballroom having a violent mental breakdown with persistent hallucinations preventing him from exiting. It continues for almost four minutes and only ends when Edmund is so overwhelmed that he faints. It is possibly the first-ever written screenplay for the Haunted Ballroom. The second iteration was developed by Dashiell in September 2022 and is currently displayed in the Museum of Fine Arts in New York City. It involves Edmund entering the ballroom and encountering a ghostly bartender named Jameson. Edmund asks not for a drink but for help overcoming his existential fears about life and death. They later discuss Edmund’s post-traumatic stress disorder from his experiences in the Second World War six years prior, and Edmund expresses his love for his wife, Maurice. At the end of the script, Jameson vanishes from the ballroom as if he were never there; however, Edmund “does not seem to notice” this and continues talking to nobody, and the scene closes as the camera fades out.

Another incomplete iteration of the first track was found, possibly written by Dashiell in 2023; in this one, Edmund walks into the ballroom and encounters the bartender in the dead of night. Edmund asks Jameson what he thinks happens after death, and he responds by saying it does not matter because everyone is doomed to be forgotten; the two agree that all organized religion is futile and the idea of a god is absurd. The screenplays have been analyzed as being part of Dashiell’s unprofessional early attempts at storytelling, and the dialogue has been described as “overly dreadful”, or even “shockingly philosophical” and “pure existential anguish”. Dashiell himself has described the despairing conversation between Edmund and Jameson as a projection of his own existential crisis at the time.

References

edit