Carlton wants you to leave messages on his machine ("About anything!" he says).
Call him at 910-541-3466!
Share some of your thoughts and feelings about the project with Carlton.
The other reason for calling Carlton is because it is an easy post for me to make. It has allowed me to spend more quality time with the songs.
So please help me keep up the blog with minimal effort by calling Farthington...regularly, if you don't mind. I think you'll enjoy it, actually!
910-541-3466
Just anything related to the project. Themes, questions, concerns, misgivings, ideas, etc. Listen to any of the ones posted on the blog. Oftentimes, I'll string together 5-7 in a row because the 3-minute time limit prevents me from getting it all out. But it does get me to organize my thoughts with an ear toward concision.
I feel that this has been both therapeutic and helpful to my thinking. I think that effect will only be multiplied with your guys' ongoing input.
I have been hindered and constrained in many ways having a newborn this year. Often, I am literally unable to sit down at a computer or keyboard (I'm actually holding the baby right now).
I say this is a good thing (cf. the mystery of the cross).
Here are some possible topics to talk about when you call Carlton (910-541-3466):
- What do you find most interesting about the project?
- What is most problematic about the project?
- What concerns you about the project?
- What do you find most promising? Least promising?
- What are the major themes or ideas you most want to explore?
- What is a message or moral that you'd like to see expressed?
- Why do you think the project is important or worthwhile?
- What are some logistical issues that you're thinking through?
- What are your ideas for the narrative/story, shows, etc.?
Here are some ideas that I've been talking through myself:
- How McLuhan's proscenium arch relates to Carlton Farthington and his cult
- The framing/reposting/retweeting/embedding phenomenon
- The karaoke/sequencer tour
- The necessity of constraints; ideas and constraints as two parts of a synthetic whole
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