I had two dreams during the morning of this day:
Firstly, I was using Procmail to set up some of the tall refrigeration units at the local supermarket, the kind that has cheese and/or margerine in, the ones that don't have glass doors. Except that there was more at stake than produce - instead, I was aboard some kind of generation starship and the population were depending on me. A small Japanese lady was helping me. She was the lady who appears in David Bowie's 'It's No Game Part I'. Whilst Procmail somehow oversaw the refrigeration process, the temperature had to be regulated with bottles of Sunny Delight, the mock orange squash which is largely composed of vegetable oil (this is not part of the dream; it's a bit of context for those unfamiliar with the beverage in question).
Unfortunately, my Japanese friend was being too efficient and the temperature plummeted, so I had to remove some of the bottles and, in the process, I discovered many stainless steel objects and a large sword with a ring on the end of it. One of the bottles was regulated with skin and human hair and sweat and had multi-coloured sweets as part of it. Then I woke up and it was 08:38. It actually was 08:38; this is, again, not part of the dream.
In my second dream Brian Harvey, the one-time lead singer of East 17, had released a concept album, but this took place in a universe where, instead of being released on small silver discs, albums were actually created out of sections of pipe buried in a giant field. Harvey had buried his all the way around the edges of the field; an unidentified female singer had buried hers in a neat grid pattern. I remember thinking that it was very clever that Harvey had done this; I do not remember why this was clever. I should have been annoyed at him for wasting space. Looking back, I think that the pipes and the field were a strange mutant representation of the light cycles bit from Tron, but buried in soil.
The first track on Harvey's album was a gorgeous ambient piece with a chorus and strings. Instead of being recorded on the album, Harvey had managed to store a complete software synth in the pipe, and the music was actually being performed 'live'. Then I saw a close-up on Harvey's microphone as he performed a song on Top of the Pops - the microphone was actually a camera lens, and it looked odd, and as I watched, the head of a doll slowly pulled itself free from the top of the microphone, and it had a face drawn on it with biro. Harvey did not react to this, and I started to wonder - is he actually Ian Brown? Then I woke up and it was 10:13. Brian Harvey had occupied almost two hours of my dream life.
This would have been a lot more interesting if it had actually happened in real life; in the dream world, anything is possible, and the above is unremarkable.