Jon Ronson did very well out of his biography of the punk years 'England's Dreaming' and there is a fair market for the anecdotal history in collage and snapshot well strung together with a theme beyond academic stuff.
No, most things I record are for other people or else for bands who's own players can't perform well enough in the studio.
Self-promotion isn't my game, never was: I work in the background and for cash money. Most of the time I'm requested to sign a non-disclosure contract if it's for commercial music on a label but not if it's for television or radio ads, etc. I also used to take contracts for tours but haven't been out on the road in over a year. Music business is in meltdown at the moment. Technical crews are having it really bad, production likewise. Session guys like myself aren't getting calls, just like most areas of self-employment.
Most people don't actually get what it is I do, but that doesn't bother me, I entered the music business to be creative, not to be famous, not to be rich, but to be payed and payed well for what I do. In that light - yes, I use socks: I have so many stage N.ames and session titles it's impossible for anyone else to know what I get up to other than producers and arrangers, and occasionally A&R dicks who want things done a certain way for purely financial reasons.
It's a tough game, but if you have what it takes then doors open, otherwise not.
I like working alone, I like traveling, and I like girls: so touring is great fun for a single man with rugged good looks.
I'll tell you what it is. From being in lockdown I've been listening via Spotify to all sorts of weird stuff I normally wouldn't bother with. Everything from Carole King's Tapestry to Continental Electronica. I have King's 1971 Tapestry going which is a nice way to bring in the day.
UCD Choir youtube arrangements of old folk songs, Dutch and Belgian jazz, old French cabaret singers and chanteuses. My desert island discs selection is under review.