defending myself

Keep pushing me: I won't budge.

I get off on defying authority. I'm not happy with being helpless: I'm far more interested in pushing people with my words.

And I'm simply not going to consent to anyone who wants to buy my script, unless they stop hounding me about my songs for the 2030 musical.

It's irrelevant whether MP's are butthurt about the 2030 script: I'm sure the media are as well, but that's what I wanted. It's supposed to be a realistic satire, like In The Loop but with songs.

Either way, I haven't written the Cabinet scenes yet, but I'm looking forward to that.

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I'm serious that I won't budge about the compromise offer: that's not my idea, and I'm happy with how my novella about Tina is progressing. 6 months from now, I'll still say no.

You can wish I liked performing live, but it will not persuade me.

1. I'm not Barbara.

2. I'm not Chloe.

3. I'm not a performer -- outside of my tapes.

I'm sick of people ascribing things to my tapes that weren't intentional, but that's just an occupational hazard with pop music.

I'm fully aware of that. It's happened plenty with my own music, but this is precisely why I'm refusing to sell my songs to TV: they'll ruin them.

1. I doubt they'd let me make my own arrangements.

2. They'd fuck up the integration of song and story because they're not particularly interested in that.

3. Nobody would give two shits, and it'd be like Happy Playland or Daffodils (which nobody gave a shit about).

4. That tape from Sondheim allows me some leeway. Plus the two operas I've successfully composed sans all the annoying reckons from randoms. 5. I wrote demos of my own orchestrations, so that's the sound I'm going for. I'm keen on the concept album/radio play idea for Shipwrecked. I'd like to set the poem from the Perfumed Garden, but Sibelius isn't running on the shitty laptop that I currently have.

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To quote the master -- Sondheim on Music (p. 233) MH: 'How far should one go in creating a new show - rethinking it?' SS: 'I have no opinions on that. I do know that most of the shows I've written were probably underappreciated or condescendingly dismissed the first time around. So that when they occur the second time, if they're any good, people tend to say, "Ooh, isn't that wonderful." I don't think it has to do with the production so much, I think it has to do with the fact that it's done a second time. Granted, Joe Mantello's production of Assassins was brilliant, but I think the fact that it was done a second time and people were able to see it without the Gulf War, without whatever was going on the first time, they said, "Gee, this is a much more interesting show than we thought." And that's my feeling about what's going to happen with Road Show.'