Coming out the gate into 2013 a little buried under deadlines, not least for next week's staged reading of The Passion of Ed Wood, my long-gestating musical with Justin Warner (deets here).
I haven't gone entirely silent in the blogosphere, though; about a month ago I started taking the radical step of unshuffling my iPod and listening to whole albums all the way through. I've been focusing on records that were in some way formative to me, and documenting the results on my Facebook page—and, more recently, on my other blog. Today's post is about Die Dreigroschenoper (Threepenny Opera), and how a simple slide guitar made my love Kurt Weill. This album-replay journal has become in the past month almost a form of spiritual practice for me—not to mention a way to make my commute from Queens less of a grind. But it's also become another writing siren; my first post, on the Replacements' Let It Be, was barely a paragraph. The posts have gotten longer. The muse, such as it is, calls how she will.
I haven't gone entirely silent in the blogosphere, though; about a month ago I started taking the radical step of unshuffling my iPod and listening to whole albums all the way through. I've been focusing on records that were in some way formative to me, and documenting the results on my Facebook page—and, more recently, on my other blog. Today's post is about Die Dreigroschenoper (Threepenny Opera), and how a simple slide guitar made my love Kurt Weill. This album-replay journal has become in the past month almost a form of spiritual practice for me—not to mention a way to make my commute from Queens less of a grind. But it's also become another writing siren; my first post, on the Replacements' Let It Be, was barely a paragraph. The posts have gotten longer. The muse, such as it is, calls how she will.
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