I hope that this ends the idea of forcing me to collaborate; Cass isn't the answer to my prayers, and I thought her show was very blah.
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M'Lady: A Meninist Musical
She wrote a whole show about guys where women play male roles, while I'm not 'allowed' to write another gender or ethnicity.
That's a double standard. And I wasn't satirising Asians - that was a grandstand moment.
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Thoughts on Cassandra the songwriter:
The scansion is awkward, and I sing better than any of these ladies.
The music is exactly what I expected: crappy NYU pop-inflected score .. I stayed in Aotearoa because, from my lurking in forums, I already knew that BMI and NYU produce mediocre talent who all sound alike.
The lyrics are decent, but the scan is often awkward - lots of misstressed rhythms.
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I personally gave up on the friendzone - I'm making it a condition of my friendships with people that I don't have to meet anyone's partner.
This is a really stupid idea for a musical: I'm honestly bored by song 4 of the album.
I think my big breakthrough was when I pared back the rhymes while setting Emanuel's poems: that's what makes the Beach Song distinctive.
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I saw her list of prizes: I've won a couple of prizes, but she has to admit that her career has been blessed with far more privilege than mine.
And she seems up herself, which is why I have been so sure that she's not the collaborator for me - I asked Michelle Kan for advice, but they demurred.
And Michelle Cameron is also someone who expressed an interest in Shipwrecked and those things: I think Meesh is a good singer, and I was really keen to work with her - it's just the conflict with the uni which is why I've soured on that.
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I genuinely liked In Blind Faith, so Cadence is someone I'm keen to meet.
I might ask Sasha to set that up, but I'm serious that Weeded Out: the movie isn't happening.
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I genuinely think this is second-rate work, and tbh I've always thought that about the marketing for Red Scare.
This is me disagreeing with a thought leader; my work may be emblematic of Wellington, but that's because I am so keen on vernacular and guerilla movies.
So this is why I've been stubborn - I know better than to be on stage because this is a country where we make world-class movies, while I generally dislike theatre and it seems chintz and cheap.
Even my Nylon Balladeer album is a better sound than this - the sound of this album is really tinny, and the singing is weak.
I turned my limitations into a feature, not a bug, and DIY me is way more popular than the young me.
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This Chorus Line ripoff sucks .. track 8.
I think that being OCD about my references to other musicals is really dumb if she writes lame parody songs.
I don't see what peppy 1950's basic vamps have to do with Aotearoa, and I honestly will never work with her - it's my script, and their insistence has persuaded me to not produce my welly love letter movie.
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I hope this concludes the negotiation - these are my real views, and knowing that I doubt she'd want to work with me.
I do not want your help, Cass. I do not think you understand my perspective and from your album, I can tell we disagree about most things when it comes to musicals.
I do not want to sing standards. And if I was keen, it'd be with Barbara.
It's just the simple truth: I would rather kill my scripts than take more bs notes from her.
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Not giving a recital. I'm trying to write music, and do not want to be in shape.
I want the uni to back off because I do not want to be beholden to corporations and their agendas.
My Ad wasn't about VUW, and they need to back off.
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Nobody is going to persuade me - Welly artists pissed me off, and that is why nobody gets to work on my stuff.
Jake and Cass are just the two I'm absolutely refusing because my critical opinions are just that: opinions, and I get to have opinions.
And Mr Luxon and his wife also have to back off.
I am not doing what Chloe thinks I should, and I am not changing my name again.
NEVER.
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