So I have been thinking a lot about relationships lately. Not just romantic relationships, though that too, but more of the concept as a whole. Two people just…connect. Maybe they met an hour ago, maybe they met ten years ago. Somehow, something brings them together. And they begin to trust each…
my little brother wrote this and he is so awesome.
Is coming out an assimilationist or resistant political strategy?
Team Assimilation: Coming out= seeking the approval of mainstream het-cis society. “I want your love!” But why should I allow my ontological worth (i.e.: am I accepted or no?) as a queer person to be determined by my oppressor?
Team Resistance: Coming out is an insistence on queer visibility in the public eye. “We’re queer, we’re here” and we’re not going away. Coming out can be construed as a public rejection of mainstream het values and gender/sex roles.
These political considerations aside, the decision to come out or not to come out is a personal one and will mean different things to everyone. It is also important to keep in mind other political/social factors, such as stigma and safety. Safety is always most important; the homonationalist notion that a good queer must be out and proud disregards cultural context.
This summer I’ve been working on a new children’s musical about philosophy WONDERWORLD, thanks to the lovely support of Brown University. In the spirit of Alice in Wonderland or The Phantom Tollbooth, my goal is to share the world of wonder and philosophy with kids through adventure, song, and dance. These next couple weeks, I will share some of what I wrote—snippets of song lyrics, dialogue, and maybe even song demos.
Noah Fields, “Wonder with Me”
From the new musical WONDERWORLD—
Did I mention that I’m gonna see Kishi Bashi live on Wednesday? :-)
How to write good musical theater lyrics:
1. Content Dictates Form
2. Less Is More
3. God Is in the Details
—> End goal is CLARITY