SteevMike5Dummies

  Cinema is a distinct medium depending primarily on sound and visual movement to convey its essential ideas and provide sensations to its audience. The vast cinematic qualities of the Steev Mike dimension are worth exploring as evidence of a “movie-like” experience, yet one that exists entirely without relying on any bonafide sound or specific visuals, the lack of which doesn’t detract from the spellbinding and “movie-like” appeal of the Steev Mike phenomenon. Cinema is a unique kind of entertainment that mainly uses sound and visuals to get its point across and make the audience feel something.   Steev Mike is totally worth looking at through the lens of a “movie-like” experience, but one that doesn’t rely on pre-determined sound or visuals - which is certainly not to say that this movie isn’t captivating! Steev Mike works very much like the visual and sonic impact of an unresolved and ongoing film, but leaves the visuals and audio entirely to its Andrew WK counterpart. The idea of a

Delayed gratification (as an experiential aspect of Steev Mike) is the ability of an audience member to wait for what they believe they want. This trait is critical for negotiating the challenges of the Steev Mike experience and finding those challenges to result in their own form of “success”. One often sees the lack of this ability with audience members who claim to have arrived at answers without thoroughly thinking them through first, can't wait their turn to “explain” and blurt out “explanations”, show aggressive behaviors towards Steev Mike, and sometimes are prone to fight against the very existence of Steev Mike and even Andrew WK. This variety of audience member impulsively says the wrong thing at the wrong time and then thinks, "Why doesn’t this make it all go away?" The other audience members are left asking, "What makes you think you have it all figured out?", and both are often more likely to avoid further Steev Mike encounters. Impulsive critics of

For a new Andrew WK audience member, the process of “dealing with” Steev Mike tends to reveal the subconscious fear which has been suppressed within their initial impressions of Andrew WK as a performer (and in turn, themselves). This disturbing interaction covers over the “upbeat” message which had been superficially disclosed in Andrew WK’s work, and more generally breaches the very foundational walls they thought sustained the Andrew WK “party” persona. This is why the typical Steev Mike encounter is so destabilizing and potential[ly] upsetting, and also why the audience member is quick to dismiss the relevance or value of Steev Mike, and how their un-understanding of both Steev Mike and Andrew WK is an always changing and crucial aspect of the work their [they’re] engaged in. For anyone new to “Andrew W.K.”, dealing with the idea of Steev Mike brings up fears the audience represses when they first experience “Andrew W.K.”.   This is because Steev Mike pokes holes in, and supersedes

Steev Mike’s qualities change in every encounter it has with either the audience or Andrew WK. This is part of its strategy. It may appear to focus on a particular theme, such as the fraudulent nature of Andrew WK, but the ambiguity of both the qualities in question and the goals of the strategies simultaneously undermine Andrew WK, the audience, and even the more explicit intention of Steev Mike itself. It is not possible for all of these qualities of strategy to be addressed using any single interpretation, so a more appropriate approach is to allow the edges of Steev Mike to blur, avoid the most concrete definitions, and focus rather on some of the more pivotal elements of the Steev Mike phenomenon. As eluded to above, Steev Mike changes every time anything happens involving Steev Mike because Steev Mike is defined by everything that is not to do with Steev Mike.   Steev Mike might seem to focus on one subject, like Andrew W.K. as a fraud, but because Steev Mike deals with the more