tag:blogger.com,1999:blog-44036498275897119292024-02-07T22:31:17.661-08:00Dialogue with Three Chordslo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-4403649827589711929.post-38100128665076671632012-12-20T13:44:00.002-08:002012-12-21T09:14:48.343-08:00Best of 2012: 70-59<!--[if gte mso 9]><xml>
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</xml><![endif]--></span> <b style="mso-bidi-font-weight: normal;">70. Paul Burch and The Waco Brothers –
Great Chicago Fire</b><span style="mso-spacerun: yes;"> </span></h4>
<h4>
<span style="font-weight: normal;">It's a bold move
to begin your album with Johnny Rotten’s infamous closing line from the
last Sex Pistols concert: “Ever get the feeling you’ve been cheated?”
“Great Chicago Fire” a collaboration between Country/Rock and Roll
classicist Paul Burch and Post Punk hero Jon Langford’s Waco Brothers starts with that quote and ends with a Bob Dylan cover and in-between are
some of the best Country Punk songs of the last decade.<span style="mso-spacerun: yes;"> </span></span></h4>
<span style="mso-spacerun: yes;"> <a href="http://www.bloodshotrecords.com/album/great-chicago-fire" target="_blank">Free Mp3 at Bloodshot Records</a></span><br />
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<span style="mso-spacerun: yes;"></span><b style="mso-bidi-font-weight: normal;">69. The Manic Low – Songs for an Up
Day<span style="mso-spacerun: yes;"> </span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>In all of Punk Rock there is no voice like Jack Grisham’s: clean
and gorgeous and it blows the doors off the building. From TSOL to Tender
Fury to The Joykiller to his latest project, every new Grisham record is
an opportunity to be thrilled. This one is 60’s Pop with a driving 90’s
Punk influence, and it will stay in your head for days. <br />
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<b style="mso-bidi-font-weight: normal;">68. The Smith Street Band – Sunshine and
Technology</b><br />
The
gruff, folk-influenced, Punk bands of the last few years have been the
soundtrack to D3C for the last three seasons and SSB is a great addition to
our monthly playlists. Catchy, aggressive, and detail rich, each song is a
perfect short story: <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>“<i><span style="font-family: "Palatino Linotype";">And I’ve finally found a home </span></i><i><span style="font-family: "Palatino Linotype";">In a handful of people I
was lucky enough to bump into</span></i><br />
<i><span style="font-family: "Palatino Linotype";">We act like pessimists
but we’re in love with it.</span></i><br />
<i><span style="font-family: "Palatino Linotype";">And I’m in love with you</span></i><br />
<i><span style="font-family: "Palatino Linotype";">And our tiny bed in the
upstairs front room of a run-down terrace house</span></i><br />
<i><span style="font-family: "Palatino Linotype";">As obviously perfect as
that sounds.</span></i><br />
<i><span style="font-family: "Palatino Linotype";">Even in the summer when
the cardboard window that you tape on every day falls out</span></i><br />
<i><span style="font-family: "Palatino Linotype";">And wakes us up…</span></i><br />
<i><span style="font-family: "Palatino Linotype";">And tonight I’m getting
young drunk</span></i><br />
<i><span style="font-family: "Palatino Linotype";">Walking around the
streets where I grew up</span></i><br />
<i><span style="font-family: "Palatino Linotype";">Knowing that they’re to
blame</span></i><br />
<i><span style="font-family: "Palatino Linotype";">And all the red brick
fences look the same.” </span></i><br />
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<b style="mso-bidi-font-weight: normal;">67. The Men – Open Your Heart</b><br />
For
an album that announces itself with a riff lifted from “Suspect Device” by
the Stiff Little Fingers “Open Your Heart” is a bit of an
all-over-the-place record. Meaning, it starts with an iconic (and
limiting) trick and expands outward in all directions. It’s not a Punk
album, but you can hear the Stooges and The Saints and The Meat Puppets.
It’s not College Rock but there’s a whole
lot of Pixies and Shoegaze here. It’s not Psychedelic, but “Oscillation” swells
and drones in the best acid-fried way. It’s hard for a band to be all
things to all music geeks, but if you like anything released in the four
decades of Rock, you will find something here to love.<br />
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<b style="mso-bidi-font-weight: normal;">66. Lambchop – Mr. M</b><br />
The
strings swell (sounding oddly like the strings that begin Bjork’s Joga)
and it’s a gorgeous moment, broken by Kurt Wagner’s narcoticly groovy
line: “Don’t know what the fuck they talk about…”, and we’re off. Lambchop
is, admittedly, a band you have to work at liking. Not because they’re
difficult, far from it, they are the most fucked-up, country tinged
orchestral Pop band you’ll ever find yourself humming along to. They’re
subtle. Too subtle for some, who end up missing the way their songs slowly
unwind and how they cushion Wagner’s wickedly funny and terribly sad
words.<br />
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<b style="mso-bidi-font-weight: normal;">65. The Victim Party – The Worst Party on
Earth</b><span style="mso-spacerun: yes;"> </span><br />
No one’s reinventing the wheel on this album, but then, no one
really has to. It’s just one of the best collections of driving, catchy,
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<b style="mso-bidi-font-weight: normal;">64. Slug Guts – Playin’ in Time with the
Deadbeat</b><span style="mso-spacerun: yes;"> </span><br />
The
late 70’s/Early 80’s Australian scene was one of the wildest and most
creative Post-Punk explosions of the era. Bands like The Birthday Party,
The Scientists, The Triffids, Beasts of Bourbon, The Moodists, and Crime
and the City Solution incorporated elements of Country, Blues, Garage,
Goth, Lounge, and Noise into their angular, confrontational sounds. Slug
Gut has been accused of sounding just like The Birthday Party, but, in
fact, they sound like all those classic Australian bands combined. They
manage to mix The Scientist’s Garage Rock , The sleazy sounds of the Beats
of Bourbon and the pop song craft of The Triffids with the art terror of
The Birthday Party, to create the darkest, most glorious mess imaginable. </div>
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<b style="mso-bidi-font-weight: normal;">63. Neneh Cherry & The Thing : Neneh
Cherry & The Thing<span style="mso-spacerun: yes;"> </span></b><br />
One of this year’s most surprising and
soulful records was an album of onetime Pop star (and deeply brilliant
artist) Neneh Cherry’s collaborations with Avant-Jazz group the Thing on a
collection of cover songs. There’s a lot going on in that sentence, but
bear with me. The group tackles Suicide, MF Doom, and Martina Topley-Bird
with amazing results, but it’s the version of “Dirt” by The Stooges that
comes on like a revelation: still as sexy and grimy as the original, but
with the Free-Jazz influence turned way up.<br />
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<b style="mso-bidi-font-weight: normal;">62. Titus Andronicus – Local Business<span style="mso-spacerun: yes;"> </span></b><br />
Not as unhinged as previous albums, but no less powerful. Titus
Andronicus still howl their bleak observations (see the opening line: “Ok,
by now I think we’ve established that everything is inherently
worthless…”) at you with ever escalating intensity. “Local Business” is
all guitars and poetry and a firm belief that Rock and Roll is supposed to
mean something, goddamnit.
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</xml><![endif]--><b>61. </b><b style="mso-bidi-font-weight: normal;">The Holy Mess – Cande Ru Las Degas <span style="mso-spacerun: yes;"> </span></b><br />
The
fact that someone coined the term “Dad Punk” is deeply unsettling, since Punk
is exactly the same age as I am. (Leaving aside that Suicide began using
the term in ’72, we’ll settle on the date Punk started as the day The
Ramones first played CBGB’s, August 16<sup>th</sup>, 1974. If you say,
“but The Sex Pistols!”, I will throw a drink in your face. England didn’t invent Punk Rock, New York did. They
just marketed it better.) What the hell is Dad Punk you ask? Punk with a
bit more Rock and Country. Less Hardcore, less discordance, way less
nihilism. Heartfelt instead of rage-filled. Which describes the new Holy
Mess album perfectly.<br />
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<b style="mso-bidi-font-weight: normal;">60. Alex Chilton – Free Again (Reissue) </b><br />
<b style="mso-bidi-font-weight: normal;"></b>Alex Chilton has one of
the most frustrating legacies out there. His first band, The Boxtops, gave
us “The Letter” and a handful of other great Rock/Soul singles; his next
band, Big Star, produced three masterpieces: The Power Pop-defining #1 Record
and Radio City and the far-reaching, nearly apocalyptic “Third: Sister
Lovers”, and then…well, “spotty” would be a kind way to describe his solo
career. “Free Again”, though, is a whole different animal. Recorded
between the Box Tops and Big Star it finds Chilton finding his own voice
by stretching the sound of the Box Tops into areas both gritty and sweet.
The title track struts a bit and “Something Deep Inside” has a lovely
little melody and a bubbling organ sound that’s pure 70’s AM gold. You
need the three Big Star records, that’s a given, but if (when) you fall in
love with Chilton’s voice, this is the only next step. <span style="mso-spacerun: yes;"> </span><br />
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<span style="mso-spacerun: yes;"></span><b style="mso-bidi-font-weight: normal;">59. Terry Malts – Killing Time<span style="mso-spacerun: yes;"> </span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"></span></b>Perfectly
fuzzed-out bedroom Punk. In a better world, all of these songs are a hit.
What makes this standout among the hundreds of other poppy, fuzzy bands is
the energy. 80’s Hardcore is clearly a huge influence (They even cover
Negative Approach), but it’s played with a crazy amount of lightness and
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</span>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-66010002584487970992012-12-07T13:57:00.001-08:002012-12-07T13:57:19.876-08:00Best of 2012<!--[if gte mso 9]><xml>
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“I found a place where it feels alright. <br />
I heard a record, and it opened my eyes.” </div>
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“Speakers Push the Air”</div>
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There may be no stronger influence on a D3C event than a
great record. It’s the reason why we try to have a musician perform with us
every month, and it’s why, often, play titles are cribbed from lyrics (I always
wanted my table of contents to read like a playlist.) </div>
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New York music scenes were the models for D3C: 70’s Punk, early
80’s No Wave, late 80’s Hardcore; it’s where we first discovered that all the truly
important things were DIY, and too this day, we’re still inspired by every generation
of boys and girls who pick up a guitar and just go. </div>
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In that spirit, we’re thrilled to present the first ever,
Dialogue with Three Chords, Best Albums of the Year list. </div>
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From now until January 1st, I’ll be counting down, oh, let’s
say, our top 75 releases from 2012, and see how far I get. I’ll also link to
our 2012 playlist on spotify. </div>
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These albums helped shape our voice this year, so please,
listen, comment, and tell us what we missed. </div>
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<br />
<span style="mso-bidi-font-weight: normal;">75</span><span style="mso-bidi-font-weight: normal;">. </span><b style="mso-bidi-font-weight: normal;">Down and Outs – Forgotten Streets</b> <span style="mso-spacerun: yes;"> </span>Excellent
Rock and Roll leaning Punk. In all honesty, this is more of what the
Gaslight Anthem wrought: Springsteen by way of The Clash, but what’s
interesting about hearing a UK band attempt this style is
that there seems to be a strong Oi! influence here, either by design or
simply because the best Oi! always had a strong Pub Rock influence. <a href="https://soundcloud.com/allinvinyl/sets/down-and-outs-forgotten">Down and Outs at Soundcloud</a> <br />
<span style="mso-bidi-font-weight: normal;">74</span><b style="mso-bidi-font-weight: normal;">. Dan Vapid and the Cheats – Dan Vapid
and the</b><b> Cheats </b>Pop Punk, and I can’t believe I’m typing this, has made
a huge comeback over the last few years, and that’s something that I never
would have believed, having lived through the 90’s and watching it go from
a handful of great Lookout! Records bands to a bunch of Ramones clones and childish
nonsense that would make Blink 182 say “grow the hell up.” Yet, here we
are, and of course, one of the best releases in this genre comes from an elder
statesman: Dan Vapid from the legendary (though troubled) Screeching
Weasel. Pop done right can still be an exhilarating thing. <br />
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<b style="mso-bidi-font-weight: normal;">73. The Magnetic Fields – Love at the
Bottom of the Sea </b>It seems like we need a “theme” for every Magnetic
Fields release since “69 Love Songs” (Acoustic, Electronic, Distorted,
etc), so I’m taking it upon myself to dub this one “Psychedelic”. It’s not
ponderous, wonky, acid-fried, or pastoral, but it is brightly colored, so
maybe “Madchester” is the better theme. Either way, Merritt is still one
of the best lyricists around, able to be achingly funny and desperately sad
at the same time, and that’s a hell of a trick.<br />
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<b style="mso-bidi-font-weight: normal;">72. Masked Intruder – Masked Intruder</b>
You may have a problem with a band working under what can only be described
as a “stalker/home invasion” motif, and I can’t say I blame you, but they
manage to do it with enough smarts that it begins to sound like a
carefully crafted skewering of Emo Punk’s lonely and pining
male-on-the-verge-of-derangement song craft (particularly on the
outstanding “Heart Shaped Guitar”). Over-intellectualizing aside, it’s a
ripping Pop Punk record. </div>
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<b style="mso-bidi-font-weight: normal;">71. Joey Ramone - “…ya know?”</b> This not
the best album, nor is it an embarrassment, which is an achievement in and of
itself since it was assembled from half-finished vocal takes, it’s simply
a chance to hear Joey’s voice one more time.<br />
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lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-3167082002157603482012-08-21T15:14:00.002-07:002012-08-21T15:14:51.654-07:00The August D3C and After<span itemprop="description"><br /> Welcome to the third season and second year of Dialogue with Three Chords. </span><br />
<span itemprop="description"><br /></span>
<span itemprop="description">I've thought a lot about what this year will be like, and the best analogy I can make is, the scripts in 2011-2012 were like: </span><br />
<span itemprop="description"><br /></span>
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<span itemprop="description"><br /></span>
<span itemprop="description">and this year, they will be more like: </span><br />
<span itemprop="description"><br /></span>
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<span itemprop="description"><br /></span>
<span itemprop="description">the same song but different takes, different arrangements, and different intentions. A move from the dark and devastated, to the dark and redemptive. We will experiment more, and we will play, and we will do our best to move you, but we will try and break hearts as we do it. </span><br />
<span itemprop="description"><br /></span>
<span itemprop="description">We built something last year that we were proud of, and we were humbled that you came to see it, and this year, we want to sing and shout and make some profoundly sad and joyful noise. </span><br />
<span itemprop="description"><br /></span>
<span itemprop="description">We're going to dance until we can barely hold ourselves together. We will be wilder and more devastating, and we hope to see you there. </span><br />
<span itemprop="description"><br /></span>
<span itemprop="description">First up is "When I Dream, I See Strange Men" and "The Baddest Man You Ever Wrought". </span><br />
<span itemprop="description"><br /></span>
<span itemprop="description">"Baddest Man" is a play about booze, guns, and gender
politics set in McDonough Georgia, and it tells the story of a
night filled with bad decisions and the morning-after fall-out. <br /> <br />
The curtain-raiser, “When I Dream, I See Strange Men”, is the first in a
series of monologues that will open each of this season’s D3C events.
Told from the perspective of people who believe they’ve had alien
encounters, the “When I Dream” series is a heartbreaking look at men and
women who doggedly believe the impossible and what that does to their
day-to-day lives. </span><br />
<span itemprop="description"><br /></span>
These plays feature: <br />
<span itemprop="description">John Harlacher as Bobby<br /> Kendra Leigh Landon as Tricia<br /> Sean Meehan as Dwight <br /> Jennifer Skura as Kayleen </span><br />
<span itemprop="description">& </span><br />
<span itemprop="description"></span><span itemprop="description">Jason Jacoby as JJ</span><br />
<br />
..and, as always, were directed by Michael LoPorto, written by Stephen Gracia, and produced by Edie Nugent, and if that Bonnie "Prince" Billy penned song is the soundtrack for the night, our charcaters are more concerned with these lyrics:<br />
<br />
"Well, you know I have a love, a love for everyone I know.<br />
And you know I have a drive to live, I won't let go..."<br />
<br />
Than these: <br />
<br /> "But can you see this opposition comes rising up sometimes?<br />
That it's dreadful imposition, comes blacking in my mind..." <br />
<br />
This season, everyone can see a darkness, but it's how they face it, and who they allow to save them that matters most. <br />
<br />
- Stephen lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-1177475624503760542012-05-23T07:35:00.000-07:002012-05-23T07:35:15.931-07:00Favorite Songs from the Singles Soundtrack : Mike Naughton – Nearly Lost You by Screaming Trees<br />
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<o:p> </o:p>Mike’s a bit older than the rest, and he held a little more
tightly to the Classic Rock of his youth, so it makes sense that his favorite
song comes off like the ghost of Jim Morrison.</div>
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“Nearly Lost You” is a broken-hearted chest-thumper. The
sound of wallowing in a misery that echoes off mountains. A perfect fit for someone who watched his dad
trying to be a good man against all odds and now finds himself fighting the
same fight. </div>
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<br /></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-36531033998057720542012-05-21T12:14:00.000-07:002012-05-21T12:14:02.424-07:00Favorite Songs from the Singles Soundtrack : Terry Monaghan - Would? by Alice in ChainsFor the rest of the week, I'll be blogging about what the adults in Mohammed's Radio would choose as their favorite "Singles" songs.<br />
<br />
<br />
<br />
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“Into the flood again<br />
Same old trip it was back then<br />
So I made a big mistake<br />
Try to see it once my way…” </div>
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<o:p> - Would? </o:p></div>
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<o:p><br /></o:p></div>
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Terry’s favorite song is the darkest on the record. Regret
and loss through a heavy drug haze. “Would?” resonated because Terry was the
kind of teenager who hid his bruises under his dad’s old flannels. The kid who
got drunk with friends and high alone, and “Would?” has a basement feel: lights
out, candles lit, and dust swirling in the last bits of sun. Terry grew up
thinking he could channel the anger and bitterness into something artistic,
that he could overcome his feelings of isolation by becoming larger than life.
He didn’t; he became his dad. </div>
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<br /></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-58629566467783508202012-05-18T13:53:00.000-07:002012-05-18T13:54:14.320-07:00"I wanna tell you that I love you, but does it really matter?" - Mohammed's Radio and The Singles Soundtrack<br />
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The Singles Soundtrack was an important record for my circle
of high school friends. It’s a soundtrack that contained several brand new
songs by a collection of bands that were just starting to get huge: it came out
between Ten and Vs., between Facelift and Dirt, and rather than being just a
collection of throwaways (though some songs were pretty inessential. Why did
Soundgarden put all their terrible songs on soundtracks?), it features more
than a few early 90’s Alt-Rock high points. </div>
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It contains Paul Westerbeg’s best post-Replacements songs,
as well as “Overblown”, one of Mudhoney’s finest moments, a song that boldly
criticizes the Seattle scene that the movie and soundtrack were meant to
lionize, and if you asked a hardcore Pearl Jam fan to make a list of his/her
favorite songs, “State of Love and Trust” would be near the top. </div>
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These were our songs. They were new, and we felt,
momentarily, like we were part of something. Our High School years had been
filled with other people’s music. We ran full-on into Classic Rock because
that’s the bill of goods you’re sold when you want to be a Rock kid. “This is
time-tested. It’s authentic. It’s Zepplin and Floyd and The Who. It’s the canon.”
It took a couple of years to realize that these were not our stories and they
likely never would be. There was no shortage of bravado and sexuality to these
songs, but there was very little doubt, fear, or genuine rage. </div>
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<br /></div>
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We were mixed-up, angry kids, and whatever Aerosmith songs
WNEW was playing were not going to temper or hone it. By the end of our sophomore
year, we discovered Punk, but by then, it was other people’s Punk. All the best
bands had broken up. New York Hardcore was just crossover Metal bullshit, so we
listened to The Clash and Minor Threat and we were sated, but it still wasn’t
OURS in the way that holding a debut album in your hands and knowing that
you’re at the start of something makes a movement yours. </div>
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<br /></div>
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By our senior year, we loved Hardcore, but we also loved
Siousxie and the Banshees and the Sugarcubes and the Pixies, and we were raised
on Classic Rock structures, so were ready for something that rocked, but was
weirder, more complex. </div>
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<br /></div>
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Enter Nirvana, who freaking howled the most amazing words at
you, cushioned by perfect Pop and Pearl Jam who were Rock in the traditional
sense but fronted by a poet who made you toss all your Jim Morrison books because
you now found them lacking. This was real, and it was ours. </div>
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Then came the Singles soundtrack, and all of our best
instincts were confirmed. What songs suck on this record? The old ones. The
Hendrix one. The Led Zepplin cover. The ones we all fast-forwarded over. </div>
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For the adults in Mohammed’s radio, this is their most
important record. It shaped them because it’s both tragic and uplifting. The
movie has absolutely nothing to do with the death of Mother Love Bone frontman Andrew
Wood, but it’s haunted by him. There are two songs by the former members of MLB
(Pearl Jam), a song written in tribute to him (Alice in Chains’s “Would?”), and
the man himself settling into the middle of the record with his most beautiful
song: “Chloe Dancer/Crown of thorns”. </div>
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Every adult in Mohammed’s Radio has a favorite “Singles”
song, and I’ll be posting them as we get closer to Thursday’s reading. </div>
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<br /></div>
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- Stephen </div>
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www.dthreec.org</div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-90608115423600515532012-03-25T09:07:00.000-07:002012-03-25T09:07:48.784-07:00D3C presents: Look at the Fish benefit night 3/29 at 8PMDialogue with Three Chords (D3C) presents a benefit for the Look at the Fish (LatF) theatre company on March 29th at 8PM at Mr. Dennehy's at 63 Carmine Street, NYC.<br />
<br />
The evening will benefit the company and it's upcoming production of: "The Genesis Collection of Plays; Nine Monologues for the Theatre by Don Nigro; Dramatic tales of creation, love, carnage, and obsession told by Look At The Fish Theatre Company" to be directed by Thomas Mckee and Thomas James Lombardo<br />
<br />
An evening of monologues written and performed by members of Look at the Fish theatre and live music. Admission is $12 and comes with a raffle ticket. 21 and over, please: the benefit is in a room with a private bar.<br />
<br />
Excerpts from selected Don Nigro monologues will be performed as part of the benefit, as well as two works by LatF company playwrights Bret Richard Hoskins and Stephen Gracia.<br />
<br />
"I'm very pleased to be a part of the Look At The Fish Theatre Company...they investigate the text and trust the text. That's very important to me. I think they will do brave, honest, and good work." --LatF company playwright Don Nigro<br />
<br />
The performances will include:<br />
<br />
"Genesis" by Don Nigro<br />
Eve tells her side of the story.<br />
With Colby Minifie as EVE, directed by Thomas James Lombardo<br />
<br />
"Diogenes The Dog" by Don Nigro<br />
Diogenes, the homeless Greek philosopher and founder of Cynic philosophy who often lived in a bath tub outside of Athens shares his unique philosophy of life.<br />
With Dorien Makhloghi as DIOGENES, directed by Thomas James Lombardo<br />
<br />
"The Last Giddy Hour of a Woundless Heart" by Stephen Gracia.<br />
In this modern day Prometheus monologue/tale, a man away on business gets more than he bargained for after hiring a prostitute.<br />
With Philippe Chang as MAN, directed by Thomas James Lombardo<br />
<br />
"Frankenstein" by Don Nigro<br />
A young woman who wrote her dissertation on Frankenstein shares why this novel her a definition of what it means to be alive. With Rachel Troy as MEREDITH, directed by Thomas James Lombardo<br />
<br />
"Gone Fishin' On A Cloudy Day" by Bret Richard Hoskins<br />
A scene from the forthcoming short play. With Ridley Parson as JIMMY and Evan Daved as CHARLIE, directed by Thomas James Lombardo<br />
<br />
With live music from composer Aleksi Glick, accompanied by Christina Bendetto. Please visit www.aleksiglick.com<br />
<br />
There will also be a raffle full of great prizes! Tickets are $2 each or 6 for $5:<br />
<br />
-5 hours of free rehearsal space at 36th Street Studios<br />
-Original manuscripts of collections of plays by Don Nigro; not published<br />
-Free tickets to any Look At The Fish Theatre Company show<br />
-Free tickets to Barefoot Theatre Company's next play at the Cherry Lane featuring Lynn Cohen<br />
-Half off a headshot session (200$ - original price is 400-500$) from Even Cohen Studios<br />
-2 Concert Tickets to ZoSo, the legendary Led Zeppelin Cover Band.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4x2M4TrPqjzr4OrG1hLo3Dj35vOuTHhfOLxjU9rn9UB6AyZ1a-XRKnlmNBdLQubm_TpoXQbRD5h1YAg4tx1v-NZd_Gkzo6HPJpzqJZsiCpBSn2brik1Ca9PQUb9x2p5xTMLmcqqBspOY/s1600/415859_347236078625699_270423502973624_1513672_1094422621_o.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="358" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4x2M4TrPqjzr4OrG1hLo3Dj35vOuTHhfOLxjU9rn9UB6AyZ1a-XRKnlmNBdLQubm_TpoXQbRD5h1YAg4tx1v-NZd_Gkzo6HPJpzqJZsiCpBSn2brik1Ca9PQUb9x2p5xTMLmcqqBspOY/s400/415859_347236078625699_270423502973624_1513672_1094422621_o.jpg" /></a></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-79283699926000909482012-01-24T08:09:00.000-08:002012-01-24T08:35:40.519-08:00End Of The World Ephemera<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SPaP9tn2e_9RoGyyibEb_Jb38MQ6GM6kCCCs0NgBjXxlRp3XFdfjBW17nylET3hqKShrR0Oz19q0e9zSdXyKLEaQqXnSJE8XbBWB0fMd_Dg9IXIaaBWMafvdF1pg_dsT6WjwBh8Qg9c/s1600/Ford+Postcard+Front+and+Back.JPG" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="400" width="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5SPaP9tn2e_9RoGyyibEb_Jb38MQ6GM6kCCCs0NgBjXxlRp3XFdfjBW17nylET3hqKShrR0Oz19q0e9zSdXyKLEaQqXnSJE8XbBWB0fMd_Dg9IXIaaBWMafvdF1pg_dsT6WjwBh8Qg9c/s400/Ford+Postcard+Front+and+Back.JPG" /></a></div><br />
Fangtoothed & Wild<br />
&<br />
A Wig Full Of Spiders<br />
<br />
Thursday, January 26th at 8pm<br />
Mr. Dennehy's Irish Pub<br />
63 Carmine Street, NYClo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-87378002142763203122012-01-23T14:31:00.000-08:002012-01-23T16:50:51.769-08:00Thoughts on the sound of Fangtoothed & Wild and A Wig Full Of Spiders<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlplbU8nU0onxF88kcw_ddlbGxV_2Z_Soq1qfY1eHDG5snDBVxsN9B__AGM0KFIgGKIlJChXzOljfC2opoF3USbQKS6BH3WdCfeMbKxf7-rkK0T3SGxU5E1cA7VpdVH8_VTRjxS0YCiu8/s1600/Baba.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="277" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlplbU8nU0onxF88kcw_ddlbGxV_2Z_Soq1qfY1eHDG5snDBVxsN9B__AGM0KFIgGKIlJChXzOljfC2opoF3USbQKS6BH3WdCfeMbKxf7-rkK0T3SGxU5E1cA7VpdVH8_VTRjxS0YCiu8/s320/Baba.jpg" /></a></div><br />
<br />
<br />
“A Wig Full of Spiders” and “Fangtoothed and Wild” are my Garage Rock plays. They’re rough, a bit sloppy, and they stagger around the stage. <br />
<br />
I’ve always had a love for Garage Rock and lo-fi Rockabilly, anything that sounds so overdriven that it’s about to turn into white noise, something that shakes and rattles and is always on the verge of falling apart. <br />
<br />
<iframe width="420" height="315" src="http://www.youtube.com/embed/s9cVPD97Wcs" frameborder="0" allowfullscreen></iframe><br />
<br />
<br />
The characters and tone of both plays are a bit different than what I usually write. They’re not strictly surreal or experimental, they’re just…off. I wanted to write something that put language first: the sound of it, the mythologizing, something a bit like the imagery in a song like Bo Diddley’s “Who do You Love?”: <br />
<br />
“I walked 47 miles through barbed-wire; I use a cobra snake for a neck tie….” <br />
<br />
<iframe width="420" height="315" src="http://www.youtube.com/embed/MAGoqMZRLB4" frameborder="0" allowfullscreen></iframe><br />
<br />
“I’m just 22, and I don’t mind dyin’…” <br />
<br />
Which was, just last year, repurposed into “California”, a beautifully apocalyptic song by Ema... <br />
<br />
<iframe width="560" height="315" src="http://www.youtube.com/embed/BacPDrDeY8U" frameborder="0" allowfullscreen></iframe><br />
<br />
...which begins: <br />
<br />
“Fuck California, you made me boring; I bled all my blood out…” and resolves into that same Bo Diddley line before crashing into the jarring: <br />
<br />
“What does failure taste like? To me it tastes like dirt.” <br />
<br />
This mirrors “Who do You Love?” ’s bravado vs nihilism. Of course a man who lives in a house of skulls doesn’t fear death, and of course a woman who’s bled all her blood out doesn’t fear it either. <br />
<br />
The characters in “A Wig Full Of Spiders” fear death (and intimacy/vulnerability of any kind) and those in “Fangtoothed & Wild” either deny it or instinctively know how best to weather this Twilight of the Gods. <br />
<br />
“A Wig Full of Spiders” is a groove, two repeating patterns playing against each other: drums and bass. It introduces the idea of being terrified of myths, especial a myth about the apocalypse, one led by Fenris, the world-eating dog. <br />
<br />
“Fangtoothed and Wild” builds on that. It’s the fuzzed-out guitar. It’s the end of the world and Fenris is here, scamming drinks in a dive bar. The world shakes apart and much like the myth Fenris stars in; the Gods fall and the humans endure.lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-21648417999906593642012-01-23T07:33:00.000-08:002012-01-23T07:33:56.361-08:00This Week! Dialogue with Three Chords Returns!<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidx9u4IkgHKWGymE5mMWPIPqAF6LAfLIlvyQ-_vo5oyroSPSkTncOeOJREmd1VKcDw723HziubrJOIiT4FUSzQ48ARLI1jNP5RUsuhzLl-jkH5ZwBOIdT-FXC2HdMS2sgg-xqKPM-2RzU/s1600/Fang.JPG" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="320" width="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidx9u4IkgHKWGymE5mMWPIPqAF6LAfLIlvyQ-_vo5oyroSPSkTncOeOJREmd1VKcDw723HziubrJOIiT4FUSzQ48ARLI1jNP5RUsuhzLl-jkH5ZwBOIdT-FXC2HdMS2sgg-xqKPM-2RzU/s320/Fang.JPG" /></a></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-73460445662859676792011-12-24T07:34:00.000-08:002011-12-24T07:51:58.791-08:00The Krampus: A Christmas PlayHappy Holidays and a Merry Krampusnacht!<br />
<br />
In lieu of an actual, live D3C event this month, we are happy to offer you a free, original, Christmas radio play for your downloading pleasure. <br />
<br />
This play, The Krampus, will soon be featured on D3C's Podcast channel (more information on that to come) and will contain some additional talking and context by the producer, writer, and director.<br />
<br />
So grab a scotch, light a fire, and gather around the ol' laptop, the way we did when we were kids, and enjoy this decidedly non-kidfriendly Christmas play.<br />
<br />
<a href="http://www.mediafire.com/?48pyzozn8ra5mqp">THE KRAMPUS </a><br />
<br />
Written by Stephen Gracia<br />
Directed by Michael LoPorto<br />
Produced by Edie Nugent<br />
With Sound Design By Da Archutek/Archutek Communications, LLC<br />
<br />
Starring:<br />
John Gazzale as Dylan <br />
Jason Jacoby as Kevin<br />
Aidan Koehler as Rebecca<br />
Sean Meehan as Eric<br />
Greg Skura as Doug <br />
Jennifer Skura as Jane<br />
Jennie West as Diane<br />
And<br />
Steve Weinblatt as The Narator<br />
<br />
Dialogue with Three Chords would like to thank our amazing cast, who came together, three days before Christmas, to rehearse and record The Krampus all in one night. <br />
<br />
As Christmas miracles go, that one was pretty spectacular.<br />
<br />
<a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by-nc-nd/3.0/88x31.png" /></a><br /><span xmlns:dct="http://purl.org/dc/terms/" href="http://purl.org/dc/dcmitype/Sound" property="dct:title" rel="dct:type">The Krampus </span> by <a xmlns:cc="http://creativecommons.org/ns#" href="www.dthreec.blogspot.com" property="cc:attributionName" rel="cc:attributionURL">Stephen Gracia </a> is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License</a>.lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-17249361668221189972011-11-23T12:34:00.001-08:002011-11-28T07:37:49.072-08:00Winter Intersession<b>Dialogue with Three Chords</b> is on break until January 26th, 2012 when we will return with brand new plays (from Stephen as well other playwrights), music, poetry, and more. <br />
<br />
We at <i>D3C</i> would like to take this opportunity to thank all of you who came out to support new theatre, and we hope to see you next year. <br />
<br />
<i>D3C</i> exists as a monthly event because of the generosity of Donal Dennehy, the Dennehy family, and Jennifer and Greg Skura. They have been fantastic hosts and inspirations. <br />
<br />
Our patrons knew that these were happening because of the tireless devotion of our PR Person, Edie Nugent. <br />
<br />
<b>D3C</b>, as a concept, was influenced by the New York theatre movement of the 60’s, and the New York Punk Rock scene of the 70’s. La MaMa and Max’s Kansas City. Sam Shepard and Richard Hell. Growing up in Brooklyn, we idolized and romanticized that time, when actors mixed with artists, mixed with musicians, mixed with poets. We spent our youth hoping to join a scene, and as adults, we figured we’d start our own, throw wide the doors, and invite everyone down to the basement to join in. We were Hardcore kids; we know a thing or two about the power of a gang chorus. <br />
<br />
Our postcards are flyers. Our programs are setlists. <br />
<br />
As we start the holiday season, it’s hard not to get boldly sentimental. We at D3C are thankful for everyone who came out to support the kind of theatre that excites <i>us</i>; it's nice to know that we're not alone, and we're thankful for all the actors and musicians who contributed their time and passion to these plays: those we’ve worked with in the past and those we met during these four months. <br />
<br />
We look forward to making you say unspeakable things in 2012. <br />
<br />
We also look forward to getting even more actors, more writers, and more musicians involved next season. <br />
<br />
While we’re away, Stephen will be working on new scripts, workshopping old ones, and blogging here about the process. He will also be soliciting short play scripts, so check back for announcements. <br />
<br />
<b>D3C</b> may be dark for the next couple of months, but our friends won’t be, please go and support these brave, forward thinking companies and events: <br />
<br />
<a href="http://web.me.com/abraxasstagecompany/Abraxas_Stage_Company/About_Abraxas.html">Abraxas Stage Company </a><br />
<br />
<a href="http://www.monkparrots.org/">Monk Parrots </a><br />
<br />
<a href="http://www.barefoottheatrecompany.org/">Barefoot Theatre Company</a><br />
<br />
<a href="http://www.facebook.com/pages/Look-at-the-Fish-Theatre/270423502973624?sk=info"> Look at the Fish Theatre </a><br />
<br />
<a href="http://www.kittycavalier.com/">Glitterbox Burlesque </a><br />
<br />
<br />
See you in the dead of Winter. <br />
<br />
Dress in layers, because the basement gets toasty.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/HwHyuraau4Q?feature=player_embedded' frameborder='0'></iframe></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-71160457835618922062011-10-26T13:08:00.000-07:002011-10-26T14:31:52.336-07:00Hello Central! - "Deleted" Scenes from NEXT<div class="MsoNormal"> From the press release, because our publicist, Edie, said it more succinctly than I ever could: </div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: verdana;"><span style="font-family: verdana;">"Dialogue with Three Chords will host a benefit night for On Behalf of a Grateful Nation, an organization that raises funds for wounded veterans and military families. HELLO CENTRAL Deleted Scenes from NEXT is written by Stephen Gracia and directed by <a href="http://broadwayworld.com/people/Michael_LoPorto/">Michael LoPorto</a>. It is an expansion of NEXT, produced by Abraxas Theatre Company at <a href="http://broadwayworld.com/people/HERE_Arts_Center/">HERE Arts Center</a>, which follows a group of WWII soldiers as they wait for their turn at a military-sponsored whorehouse. It includes a burlesque performance and starts at 8PM on October 27, Downstairs at Mr. Dennehy's pub on 63 Carmine Street in Greenwich Village. Admission is $10."</span></span></div><div style="background-color: transparent; border: medium none; color: black; overflow: hidden; text-align: left; text-decoration: none;"><br />
Read more: <a href="http://offoffbroadway.broadwayworld.com/article/Dialogue-With-Three-Chords-Hosts-Benefit-For-Veterans-and-Military-Families-20111025#ixzz1bv7Tguq9" style="color: #003399;">http://offoffbroadway.broadwayworld.com/article/Dialogue-With-Three-Chords-Hosts-Benefit-For-Veterans-and-Military-Families-20111025#ixzz1bv7Tguq9</a></div><div class="MsoNormal"></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I never though that I would return to NEXT in quite this way. </div><div class="MsoNormal">I had no doubt that I would return with a new arsenal of editing tools once I let the version that ran at HERE Arts Center in February, 2011 settle for a while. The visuals conceived by Michael LoPorto and the creative team had inspired new additions to the narrative, and I planned to sit down and change the script accordingly. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I knew that the character of Danny would need a bit of a rewrite. It took me the three week run, the month of rehearsals prior, and the almost year of discussion that led to the process and production to really understand the characters I had created, and I now had clearer idea of how to tell their stories. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I recognized the need for tweaks and changes, and when the idea of doing a fundraising event for On Behalf of a Grateful Nation (the not-for-profit organization we partnered with in February) came up, I thought that throwing together a collection of “scenes that you didn’t see”-- conversations that were happening simultaneously or, at most, just before or just after the action you saw on stage -– would be fun. What ended up happening was entirely different. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">“Hello Central” is less a hodge-podge of scenes and more of an entire second play-- taking place before, during, and well after the war. It’s a full companion piece, and that’s shocking. Revisiting characters like this, telling another story using the same people…crafting a <i style="mso-bidi-font-style: normal;">sequel, </i>of all things, seems somehow wrong. If I did it right the first time, I thought, then the story should be over. There should be nothing else to say. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">But then, If I’m completely honest with myself, NEXT is less of a straight narrative, with a beginning, middle, and end, and more of a collections of moments that hang within a structure of two or three themes. There’s resolution at the end, and little journeys that move throughout both acts, but the acts are completely separate, with entirely different tones and pacing, and even within the acts, action and journey are broken up by narration. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This structure made it easier to write a re-visitation with those characters. It was a matter of finding moments between the ones you saw in the original production. And, naturally, those moments between seemed to necessitate visiting a moment months before the play and a moment years after. Looking at NEXT this way, through the lens of the new Hello Central!, has put me in mind of a quote from Gravity’s Rainbow, (Pynchon in general and GR in particular had a huge influence on NEXT, though I’m not sure that’s obvious.) </div><div class="MsoNormal">"It's been a prevalent notion. Fallen sparks. Fragments of vessels broken at the Creation. And someday, somehow, before the end, a gathering back to home. A messenger from the Kingdom, arriving at the last moment. But I tell you there is no such message, no such home — only the millions of last moments... nothing more. <b>Our history is an aggregate of last moments.</b>" </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">NEXT and Hello Central are just that: aggregates of last moments, which is the nature of writing fiction about war. There is no kingdom, no home, nothing but the “now.” And that now is terrifying, and it’s the moments of peace, of pleasure—of laughing or drinking, of fantasy and sexual release that break up the moments where death feels imminent. </div><div class="MsoNormal"><br />
</div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-44715889713076601612011-09-20T10:01:00.000-07:002011-09-20T10:01:46.398-07:00D3C Playlist - An Ugly, Lovely TownWhen Dylan Thomas referred to the area of Wales where he grew up as "an ugly, lovely town" in "Reminisces of Childhood" he both set a future tone and gave perfect voice to a long held belief (at least in the rest of the UK): Wales is a beautiful country populated by hard people.<br />
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Welsh popular music then, is an interesting thing. Its two most well known exports are:<br />
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Two of the biggest voices out there. Beautiful and booming. Nary a rough edge to be seen. Odd, since the Welsh accent is considered quite harsh (given the overload of consonants).<br />
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Even when we move into the Punk, Post-Punk, and Indie Rock eras, the sweetness remains. Even when the lyrics are about death:<br />
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If the person filming this had widened the shot a bit, you'd absolutely see me standing in the audience, stage right, jumping around like a buffoon. So, I remain thankful that he/she stayed focused on Jon Langford. Langford, a newport boy and one of the greatest, most prolific musicians to come out of the first wave of UK Punk (seriously, I refer you to the Mekons, The Waco Brothers, The Three Johns, The Pine Valley Cosmonauts, and his solo stuff, unreservedly. I have seen him play NY, in various incarnations, 4 times in the last 3 years, and I already have my Mekons ticket for next month) is the patron saint of this play. His book about growing up in Wales, Skull Orchard, provided every detail I needed.<br />
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The Ugly/Lovely balance is evident in Langford's lyrics about his working class upbringing conveyed in a rich, melodic vocal, in the same way the "soul of the Sex Pistols in the body of Guns N' Roses' body" dynamic works for Wales's favorite sons, The Manic Street Preachers.<br />
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which is the loveliest Brit Pop song to ever begin with words as despairing as:<br />
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"Culture sucks down words<br />
Itemise loathing and feed yourself smiles<br />
Organise your safe tribal war<br />
Hurt maim kill and enslave the ghetto.."<div><br />
<span class="Apple-style-span" style="font-family: inherit;">The contribution of Wales to UK Pop seems to be giving it a knife edge, an act never more brilliantly realized than by the latest Welsh band to inspire devotion, Los Campesinos. </span><br />
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</div><div class="separator" style="clear: both; text-align: left;">"We are Beautiful; We are Doomed", a distinctly Welsh concept born in an "ugly, lovely town", complete with a gang chorus/pub singalong: </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: Arial;">"Oh, we kid ourselves, there's future in the fucking</span><span class="Apple-style-span" style="font-family: Arial;">But there is no fucking future..." </span><br />
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<span class="Apple-style-span" style="font-family: inherit;">All of these artists were played constantly during the (relatively short) writing process because in the space of just over ten pages I wanted to get at this </span>dichotomy: t<span class="Apple-style-span" style="font-family: inherit;">his love and indifference toward the same place. (Thomas was later quoted as saying "Wales is the land of my fathers, and my fathers can have it." which, in </span>structure<span class="Apple-style-span" style="font-family: inherit;">, is both a searing </span>indictment<span class="Apple-style-span" style="font-family: inherit;"> and </span>wistful<span class="Apple-style-span" style="font-family: inherit;"> rememberance) </span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-family: inherit;">In the play, "An Ugly, Lovely Town", there is no fucking, but there's love and indifference, there's a romantic past and a bleak future and a protagonist who's willing to love both equally. </span></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">- Stephen </div><div class="separator" style="clear: both; text-align: left;"><br />
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</span></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-92197232629880603032011-09-17T09:56:00.000-07:002011-09-17T09:56:54.445-07:00September 22nd's D3C - If I Never Look Upon This Land Again & An Ugly, Lovely TownDuring the talk back for last month’s D3C, I spoke a bit about why someone named “Gracia” would be writing a bloody family drama about the last days of the New York Irish mob. My reasoning was that my mother’s family is Irish, and those are the relatives I know and love. My father’s Spanish side is an unknown element. <br />
<div class="MsoNormal"></div><div class="MsoNormal">Of course, that’s not the full family history. My maternal grandmother’s family came from county Down, and she was every bit an Irish women (in “Absolute Beginners” there’s a story about a character’s mom being unable to stay in the apartment when the downstairs Italian neighbors were cooking with garlic and onion and basil, and that was my grandma, through and through), but my grandfather’s family had been sailing back and forth from England to the colonies since the Mayflower. </div><div class="MsoNormal"></div><div class="MsoNormal">The most recent branch of that particular tree seems to reach from somewhere in Wales to Bristol, which is where my great-grandfather emigrated from. </div><div class="MsoNormal"></div><div class="MsoNormal">I was fortunate enough to visit Bristol during the summer of 2010, and while there, I spent the afternoon walking through the SS Great Britain (which has been turned into a museum), and while there, I read the story of Captain Gray: a beloved captain who disappeared from the Britain mid-voyage. </div><div class="MsoNormal"></div><div class="MsoNormal">This, I thought, would be an interesting play. After we left the museum, I made my notes while sitting with my wife and her friends, drinking authentic Bristol alcoholic cider (a local specialty that, unlike the American variety, is not carbonated, not sweet and has a distinctly bile-like consistency when you start in on a pint, but, also unlike the sickly-sweet American cider, really does improve once you get used to it.) I originally thought the play would focus on Captain Gray: his life aboard the ship and his reasons for suicide (I had decided to treat the disappearance as suicide). Soon, a second act was planned that focused on the wife that was waiting for him on the dock…then it was his wife in a tavern by the docks, and soon, Gray was removed from the play all together and the focus shifted to those waiting for the Britain and what that ship meant to them. </div><div class="MsoNormal"></div><div class="MsoNormal">In the end, “If I Never Look Upon This Land Again” is only about those who are left behind, those looking for a second (or third) chance, and those who are “redeemed by faith alone.” </div><div class="MsoNormal"></div><div class="MsoNormal">This Dialogue with Three Chords is the most Punk Rock one so far, which seems strange to say about a play that takes place during the Victorian era, but this is a one-take and hit the stage night. “If I never Look Upon This Land Again” and the curtain raiser “An Ugly, Lovely Town” are brand new and will be rehearsed/workshop for two nights prior. These pieces will find their legs in front of an audience. </div><div class="MsoNormal"></div><div class="MsoNormal">“An Ugly, Lovely Town” is set in present day South Wales, in a town called, Newport. Specifically, in Pillgwenlly, a spot under a transporter bridge that straddles the river Usk. It’s about a bar called “The Wild Hunt”, a young man and woman meeting for the first time, and a dead place named for a redeemed pirate saint. </div><div class="MsoNormal"></div><div class="MsoNormal">It’s set in Wales because it’s close to Bristol, and because the people of that region, to quote Raymond Williams, “talked about ‘the English’ who were not us, and also ‘the Welsh’ who were not us.” </div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-57921853888764957202011-08-22T12:02:00.001-07:002011-08-22T12:02:49.570-07:00Influences and Inspirations : Garth Ennis and Violent Morality"The guy who taught me to fight was the same guy who shot my dad in front of my eyes. That will tend to focus your concentration."<br />
- Jesse Custer, in Garth Ennis's "Preacher"<br />
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Violence is at the heart of "Absolute Beginners", and it's a narrative lesson I learned from Garth Ennis. It's easy enough to let the extremes of violence push a narrative forward. There is no shortage of books and movies that show violence at its most extreme and most casual, but it's the work of Ennis, who writes primarily in the realm of comic books, that best conveys the fluidity of morality at a crisis point. <br />
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Ennis's protagonists are complex, ranging from a hitman who only kills criminals, to a soldier, haunted by the memory of discovering Auschwitz, manipulating world events and racking up a lifetime of dead bodies, to a preacher on a mission to make God pay for abandoning his creation. Every single one born or reborn in brutality but driven by a strict moral code. That's what makes his stories work, and it's what I'm trying to bring to the characters in Absolute Beginners, the idea that a morality that finds its beginnings in violence is a morality that's most easily compromised.<br />
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The brothers (and best friend) in Absolute Beginners act out of a desire to protect their family/tradition/neighborhood and in doing so, cause untold chaos because at the heart of each thing they're trying to protect is immeasurable brutality and cruelty. <br />
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One of the greatest characters Ennis has ever written for (though it's not one he created) is John Constantine, a man who fancies himself a defender of humanity against all of hell... <br />
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“I’m the one who steps from the shadows, all trench coat and cigarette and arrogance, ready to deal with the madness. Oh, I've got it all sewn up. I can save you. If it takes the last drop of your blood, I'll drive your demons away. I'll kick them in the bollocks and spit on them when they're down and then I'll be gone back into darkness, leaving only a nod and a wink and a wisecrack. I walk my path alone... who would walk with me?" <br />
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…who has managed to kill off every single friend he’s ever had (and more than a few lovers), and that’s what makes him, and characters like him, so compelling. <br />
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The deals and the mistakes, the blood and the horror, all of it in service to a greater good, but even that good thing is flawed. <br />
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The best moments of literary or theatrical violence come when everyone is trying to be the hero, but nobody succeeds at being noble. <br />
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- Stephen lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-91076656642667578112011-08-10T12:54:00.000-07:002011-08-10T12:54:06.099-07:00Absolute Beginners - CastThe cast has been finalized for this month's D3C event:<br />
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<span class="Apple-style-span" style="font-family: inherit;">Sean Meehan as Sean Ballard</span><br />
<span class="Apple-style-span" style="font-family: inherit;">Matthew Ferretti as Pat Ballard</span><br />
<span class="Apple-style-span" style="font-family: inherit;">Charle Everett as Bobby Shannon</span><br />
<span class="Apple-style-span" style="font-family: inherit;">Jennifer Skura as </span>Mary<span class="Apple-style-span" style="font-family: inherit;"> Conry</span><br />
<span class="Apple-style-span" style="font-family: inherit;">Carol LoPorto as Kathleen Conry</span><br />
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<span class="Apple-style-span" style="font-family: inherit;">With special guest musician, Ridley Parson. </span><br />
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<b style="font-family: inherit;">Absolute Beginners </b><span class="Apple-style-span" style="font-family: inherit;">is a never-before-seen play about violence as family tradition and self-destruction as cultural heritage. </span><br />
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<span class="Apple-style-span" style="font-family: inherit;">It's about New York Irish Gangster in the mid-80's and siblings who take very different paths toward redemption. </span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4HIR91yXg5LcRNyxOnYv56xnkFcwCNDJUnk1KVHuqq6TrlfpOV_aHXB5XNULSJJxzP73J1z8RsMSUWGqjORpbe9bJWQJumPtQIzSdj44cJKrlxenc9CdWSRhb0CnOPdFlsbFPF-9yhL8/s1600/Absolute+Beginners+text+Blood+Target.bmp" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4HIR91yXg5LcRNyxOnYv56xnkFcwCNDJUnk1KVHuqq6TrlfpOV_aHXB5XNULSJJxzP73J1z8RsMSUWGqjORpbe9bJWQJumPtQIzSdj44cJKrlxenc9CdWSRhb0CnOPdFlsbFPF-9yhL8/s1600/Absolute+Beginners+text+Blood+Target.bmp" /></a></div><b><u><span class="Apple-style-span" style="font-family: inherit;">Dialogue with </span>Three<span class="Apple-style-span" style="font-family: inherit;"> Chords</span></u></b><br />
<span class="Apple-style-span" style="font-family: inherit;"><b><u>8pm.</u></b></span><br />
Downstairs<span class="Apple-style-span" style="font-family: inherit;"> at Mr. Dennehy's Irish Pub</span><br />
<span class="Apple-style-span" style="font-family: inherit;">63 Carmine Street, NYC</span>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-70712861510870628192011-08-08T09:53:00.000-07:002011-08-10T11:19:13.145-07:00Dialogue with Three Chords Playlist: Avail<div style="text-align: center;"><span class="Apple-style-span" style="font-size: large;"><b>The D3C Playlist: What we're listening to this week. </b></span></div><br />
I'm revisiting Avail right now, a 90's band that fit neatly into the Punk Rock/Positive Hardcore sound pioneered by bands like 7 Seconds and Gorilla Biscuits. No dogma, just honest, heartfelt lyrics for us kids who missed the first (and second wave) of Hardcore but still felt <i>earnest</i>, dammit.<br />
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Their first two albums,<i> Satiate </i>and <i>Dixie</i>, didn't leave my stereo for two solid years. Their songs absolutely raged and swung: aggressive post punk guitars (the bass line that begins <i>Bob's Crew</i> is an obvious nod to Public Image Limited) mixed with a heavy crunch, the clear but slightly hoarse vocals, and goddamn, the build-ups and breakdowns just demanded you move. Try and sit still during <i>Connection</i>.<br />
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I was lucky enough to see Avail tour to support Dixie, and what made it even more amazing was that they were on a bill with two of my other favorite 90's Punk Bands: Rancid and The Queers. It was during NYC's CMJ fest, so I remember standing on a ridiculously long line outside of The Wetlands (a long defunct venue) while journalists, insiders, and people way hipper than I'll ever be filed in before us. (Much to the grumbling of the skinheads and guys in Poison Idea shirts ahead of us.)<br />
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The Queers opened and were great, and, in fact, are probably one of the only bands to pull off the "we sound just like the Ramones" shtick with anything approaching style and good humor, but when Avail hit the (too damn small) stage, it was the first time I felt like I was in an audience that functioned as a unit, that sang and danced as one. A feeling that has only been replicated for me two or three times since then.<br />
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Satiate was a blast of catchy Punk Rock, but <i>Dixie</i> was more aggressive, musically complex, and dealt, lyrically, with issues that not many Hardcore bands touched on, notably, body image:<br />
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As an alienated Punk , already uncomfortable in his own skin, that song resonated with me, so much so, that I bought one of their t-shirts. A bold move for a fat kid, since the only shirts they had were white.<br />
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Of course, I never wore it, too damn self conscious, so instead, I cut off the front image, and pinned it onto the back of my jacket, after carefully lettering these lyrics from <i>Model</i> onto it:<br />
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<span class="Apple-style-span" style="font-family: Verdana, Helvetica, Arial; font-size: 11px;"> </span><span class="Apple-style-span" style="font-family: inherit;"><i>B</i><i>ig is a scar; you'd better get thin; the tanner you are, the more you fit in </i></span><br />
<div style="text-align: center;"><i><span class="Apple-style-span" style="font-family: inherit;"> Bullshit! You've got a disease. You follow the trends like the rest of the sheep! </span></i></div><div style="text-align: center;"><i><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></i></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: inherit;">Defiant enough, I felt. </span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: inherit;">Energized by that experience, I returned to my teenage dream of fronting a band. I wrote a bunch of lyrics that, looking back, weren't </span>completely<span class="Apple-style-span" style="font-family: inherit;"> </span>embarrassing<span class="Apple-style-span" style="font-family: inherit;">, booked some studio time, and screamed my lungs out for a couple of years in the mid-90's. Nothing came of it, but it was an action at a time when every single thing in my life demanded I "sit down and shut the fuck up." </span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family: inherit;"><br />
</span></div><div style="text-align: left;">Punk and Hardcore taught me to be contrary, as Crass so brilliantly put it, "Punk was once an answer to years of crap, a way of saying 'No!', when we'd always said 'Yes.'", but it also taught me to think bigger and broader and that there was a network of kids out there feeling the same way, and at the time, they all wanted to create something too, to find direction. There were scenes, of course, and dogma crept in, but the central maxim at the root of it all was: "Yeah, you can be a part of something, but isn't it better to <i>start </i>something?" </div><div style="text-align: left;"><br />
</div><div style="text-align: left;">- Stephen </div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-34108670864192747242011-08-04T08:13:00.000-07:002011-08-04T19:30:04.304-07:00This Month!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqar_hsjnVlMxzjlXbdSYfe8u2vbcGFwndEzyK-mkz8bPL9De-XULIMxAP1QiWr983BW2GIxJJiQo15bHT-0GUnmoqOnWD7h1qnCK4fIyGxT7W2Mu3mENOJ1LVK6JCtLGa8VLpyTpako0/s1600/Absolute+Beginners+Image+Quote.JPG" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqar_hsjnVlMxzjlXbdSYfe8u2vbcGFwndEzyK-mkz8bPL9De-XULIMxAP1QiWr983BW2GIxJJiQo15bHT-0GUnmoqOnWD7h1qnCK4fIyGxT7W2Mu3mENOJ1LVK6JCtLGa8VLpyTpako0/s400/Absolute+Beginners+Image+Quote.JPG" width="400" /></a><br />
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Two brothers bear witness to the end of a bloody family tradition as their neighborhood slowly becomes unrecognizable.<br />
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This new play by Stephen Gracia is set in the Hell's Kitchen of 1983. The Westies are falling apart, gentrification is coming on quick, and there's a dead body in the bathtub that someone needs to atone for.<br />
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Join us on August 25th at <b><u>Mr. Dennehy's Irish Pub, 63 Carmine Street</u></b> for this never before seen staged reading.<br />
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Start time: 8pm.<br />
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Cast and guest musician to be announced.lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-17696573746203441352011-07-28T10:52:00.000-07:002011-07-28T10:52:15.103-07:00TONIGHT!The first Dialogue with Three Chords at Mr. Dennehy's Irish Pub, 63 Carmine Street, NYC. <br />
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<b>8pm start time. </b><br />
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Four short plays by Stephen Gracia, live music by Tommy Lombardozzi, and a talk back with the playwright, director, and actors.<br />
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FREE!<br />
($3 Suggested Donation)<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPel_UvI7nj-UHmuv_4i5mkpE6N-ZGm7LSv2CjHplALTLgKsYPRdrAbhNmm5ToiC_qxdwZUhE9MiK8ZotEmPyYZlsG_9cnWZ0SxCZJ8c51Yax-tv3GZMIR8VKBjOjzng46SNOrb7DQCpI/s1600/Avant+Garage+D3C.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPel_UvI7nj-UHmuv_4i5mkpE6N-ZGm7LSv2CjHplALTLgKsYPRdrAbhNmm5ToiC_qxdwZUhE9MiK8ZotEmPyYZlsG_9cnWZ0SxCZJ8c51Yax-tv3GZMIR8VKBjOjzng46SNOrb7DQCpI/s320/Avant+Garage+D3C.JPG" width="320" /></a></div>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-29933177498558401272011-07-19T08:17:00.000-07:002011-07-19T08:19:16.263-07:00Tiny Hooks - Notes on the First PieceThe piece that opens this Thursday's D3C, "Tiny Hooks", was written to solve a problem.<br />
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The four plays that comprise the inaugural night of D3C are part of a slightly larger collection, currently titled "We Lose Our Place & Begin Again", and the first play in this collection ends with the stage covered in thick, gray dust. This, of course. makes staging these plays difficult. "Tiny Hooks" was one the first plays I've ever written with a specific goal in mind: to get the stage cleaned up. It begins:<br />
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<div align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;">Setting: A stage covered with dust. <o:p></o:p></i></div><div align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;">Two chairs tipped over and laying on the floor. <o:p></o:p></i></div><div align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;">Emily enters</i></div><div align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;">She has a blue-tooth headset in.</i></div><i style="mso-bidi-font-style: normal;"><span style="font-family: 'Palatino Linotype'; font-size: 12pt;"> She begins sweeping up the dust and speaking into the headset. </span></i><br />
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<span class="Apple-style-span" style="font-family: 'Palatino Linotype';">Simple enough, really, the actors in the previous piece leave their set behind: a table and two chairs, an ungodly amount of dust, and it's up to the next actor to set things right (or as close as possible) as she delivers a monologue on the nature and limits of mature love. </span><br />
<span class="Apple-style-span" style="font-family: 'Palatino Linotype';"><br />
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<span class="Apple-style-span" style="font-family: 'Palatino Linotype';">Thematically, it follows the piece before it, "We Find Our Own Level" (previously known as "Assfuck Brooklyn" for reasons of rebellious youth), in that it is tied to a very specific New York tragedy without directly addressing it. It's a part of the landscape. And in most plays, landscape and environment are characters themselves, but I like to think of them as characters the way Pinter-esque dread is its own character -- lingering just off-stage, psychologically weighing everyone down. </span><br />
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<span class="Apple-style-span" style="font-family: 'Palatino Linotype';">Now, the follow-up, the afterthought, the what-the-hell-are-we-going-to-do-about-all-that-dust fix, has become the starting point, and I get to see it stand on its own. </span><br />
<span class="Apple-style-span" style="font-family: 'Palatino Linotype';"><br />
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<span class="Apple-style-span" style="font-family: 'Palatino Linotype';">Dust or no, the dread's still there, I think. </span><br />
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<span class="Apple-style-span" style="font-family: 'Palatino Linotype';">- Stephen </span><br />
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</span>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-32286790521399150252011-07-17T11:19:00.000-07:002011-07-19T07:33:42.243-07:00D3C - Cast List and Featured MusicianThe first D3C will feature the acting talents of<br />
<b><span class="text_exposed_show">Matthew Ferretti, Dan Graff, Kendra Leigh Landon, TJ Lombardo, Sean Meehan, Ridley Parson, </span></b><span class="text_exposed_show">and</span><b><span class="text_exposed_show"> Susanne Stewart</span>. </b><br />
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Live music, before and after the performance will be provided by <a href="http://soundcloud.com/tommylombardozzi">Tommy Lombardozzi</a>.lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-32114795276804084372011-07-16T21:11:00.000-07:002011-07-16T21:11:10.714-07:00D3C Youtube Channel<a href="http://www.youtube.com/user/DthreeC?feature=mhee">Dialogue with Three Chords </a><br />
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A place for the words and music that influence the series, and eventually, some live clips.lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-38306678534383468672011-06-28T08:49:00.000-07:002011-06-29T14:23:52.018-07:00The first Dialogue with Three ChordsThe play line-up for our first night has been set!<br /><br />We will be performing, on our feet with scripts in hand:<br /><br /><b>Tiny Hooks </b><br /><b><br /></b><br /><b>The Rebel Sound of Fuckin' Around</b><br /><b><br /></b><br /><b>Instructions for Dancing</b><br /><b><br /></b><br /><b>Fast Food Strategies</b><br /><br />The first three are premiering at D3C. <b>Fast Food Strategies</b> has been work-shopped in front of an audience twice by <a href="http://www.barefoottheatrecompany.org/">Barefoot Theatre Company</a>.<br /><br />Cast list and Musical performer to be announced.<br /><br /><b>Dialogue with Three Chords</b><br /><b>July 28th, 2011, 8pm - 10pm </b><br />$3 Suggested Donation<br /><b><br /></b><br /><b>Downstairs at Mr. Dennehy's Pub</b><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;">63, Carmine Street,</span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: 12px;">Between 6th and 7th Avenue</span></span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: 12px;">NYC </span></span>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0tag:blogger.com,1999:blog-4403649827589711929.post-91664575647120107002011-06-20T08:36:00.000-07:002011-06-29T14:23:52.018-07:00Announcing a Monthly Event<span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">The fourth Thursday of every month, Downstairs at Dennehy’s will host </span></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">DIALOGUE WITH THREE CHORDS</span></span><br /><span class="Apple-style-span" style="color: white;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">A monthly collaboration between</span></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">playwright Stephen Gracia and director Michael LoPorto. </span></span><br /><span class="Apple-style-span" style="color: white;"><br /></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">D3C will feature new plays by Stephen, plus live music, poetry, </span></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;">and short plays by emerging playwrights. </span></span><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-size: 11px; line-height: 15px;"><br /></span></span><br /><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 15px;">Start Date: Thursday, July 28th, 2011 8pm-10pm </span><br /><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 15px;"><br /></span><br /><span class="Apple-style-span" style="border-collapse: collapse; color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 15px;">Mr. Dennehy's Irish Pub</span><br /><span class="Apple-style-span" style="color: white; font-family: Arial, Helvetica, sans-serif; font-size: 12px;">Mr. Dennehys<br />63, Carmine Street,<br />New York, NY 10014<br />(212) 414 1223</span><br /><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgphoDVGHuMc6jngFuu2pyl75szUY_k1QJdiY-Swp3H-iY2OadPCV2HIHgCV02qeKmiipk_86aRjbiNI-PK3ZZYi3EYSgIGb8BOHr3Ep1HPDOij43qYuo8yDE9r3Dm22tLzM5VEqGQPH0g/s1600/D3CPasslarge.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgphoDVGHuMc6jngFuu2pyl75szUY_k1QJdiY-Swp3H-iY2OadPCV2HIHgCV02qeKmiipk_86aRjbiNI-PK3ZZYi3EYSgIGb8BOHr3Ep1HPDOij43qYuo8yDE9r3Dm22tLzM5VEqGQPH0g/s320/D3CPasslarge.JPG" width="299" /></a></div><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 12px;"><br /></span>lo_rez_skylinehttp://www.blogger.com/profile/02746628192940963036noreply@blogger.com0