Work work work
On Saturday and Sunday I did a ton of work on A Common Pornography. I redid some vocals, fixed up the lyrics and recorded Silhouette, remixed some songs, and wrote and recorded another song called Stereo. I really like it. The short story references the Cars' Candy-O album, so I stole the synthesizer melody from the first song on Candy-O for the vocal line. It's not stealing, actually, it's an "allusion", so put the phone down.
I also did some singing on the Parks & Recreation album. My voice must have dropped in the last year or so because, man, some of those songs are really high for me to sing! Could this be a second puberty for me? I'm not sure. I noticed the other day that I've gotten a bit taller and thicker. It's midlife. It must be.
Tonight I did some really pivotal work on the play. I started talking to myself about the script while doing dishes, and some really nice stuff came to me. I was able to answer some pivotal questions and work them in to the synopsis. I also read quite a bit more about the art business and how it works and looked up information about the town of Melbourne, Australia, where I decided our antagonist will be exiled. Also, I came up with final names for all the characters by looking up their etymologies. Now I have a premise, a group of six reasonably well-drawn and orchestrated characters (though I know some details about them will change as writing progresses), and I have for the structure of the play a shape that I'd like to pursue. I see it unfolding in three acts. Act one: Nicholas digs the pit. Act two: Everyone gathers strength against Nicholas, Act three: Nicholas takes the fall. I want the play to be really juicy, full of sex, betrayal, art, intrigue, and drama, lots of drama. All that in a musical? Is it possible?
I'm finally ready to get to the good part, which is the actual writing of the actual dialog and everything. That's coming up next, as soon as I decide whether to write the play in verse or not. I was thinking that each character could speak in a different form of verse. Gregory, for example, being all brooding and dark, could speak in iambic pentameter, the rhythm of Shakespeare, while Nicholas, being the flighty dandy conniving fop that he is, could speak in couplets. I'm not sure. Maybe it's too gimmicky. I'll explore it and see what happens. It's worth a shot. Plus, if the spoken lines were in verse, it might ease the transition into the songs. That would make the play kind of an operetta. Especially if I put the entire thing, dialog and all, to music. I don't know. Like I said, I'll play around and see what happens.
I also did some singing on the Parks & Recreation album. My voice must have dropped in the last year or so because, man, some of those songs are really high for me to sing! Could this be a second puberty for me? I'm not sure. I noticed the other day that I've gotten a bit taller and thicker. It's midlife. It must be.
Tonight I did some really pivotal work on the play. I started talking to myself about the script while doing dishes, and some really nice stuff came to me. I was able to answer some pivotal questions and work them in to the synopsis. I also read quite a bit more about the art business and how it works and looked up information about the town of Melbourne, Australia, where I decided our antagonist will be exiled. Also, I came up with final names for all the characters by looking up their etymologies. Now I have a premise, a group of six reasonably well-drawn and orchestrated characters (though I know some details about them will change as writing progresses), and I have for the structure of the play a shape that I'd like to pursue. I see it unfolding in three acts. Act one: Nicholas digs the pit. Act two: Everyone gathers strength against Nicholas, Act three: Nicholas takes the fall. I want the play to be really juicy, full of sex, betrayal, art, intrigue, and drama, lots of drama. All that in a musical? Is it possible?
I'm finally ready to get to the good part, which is the actual writing of the actual dialog and everything. That's coming up next, as soon as I decide whether to write the play in verse or not. I was thinking that each character could speak in a different form of verse. Gregory, for example, being all brooding and dark, could speak in iambic pentameter, the rhythm of Shakespeare, while Nicholas, being the flighty dandy conniving fop that he is, could speak in couplets. I'm not sure. Maybe it's too gimmicky. I'll explore it and see what happens. It's worth a shot. Plus, if the spoken lines were in verse, it might ease the transition into the songs. That would make the play kind of an operetta. Especially if I put the entire thing, dialog and all, to music. I don't know. Like I said, I'll play around and see what happens.