Pouet épinglé


the videos from my are now live! click on over and give them a watch, and share with ppl who you think would appreciate them!

here's the link to the playlist itself — see thread below for content notes if those are things you want/need!


currently this draft, with footnotes, is 4,242 words long, so clearly i have pleased the ghost of Douglas Adams

and here's Part 2! head on over to
for an extended look at performers in the world of singing theatre. come for the discussion of Sondheim's female baritones, stay for the analysis of structural issues in opera funding:


Brin Solomon a partagé

in many ways, this project is the culmination of the past three years of my life. writing it feels, in a deep spiritual sense, like climbing to the top of a mighty mountain, as yet only dimly glimpsed. i hope you come along with me on this journey — it's a bit of a trek, but there's quite the vista at the end <3

ok ok ok here we go! thruout this month, i'm doing a deep dive into issues of representation in and over at . Part 1 is now live, laying out some trans vocab and gender theory and then turning to the complexities of trans history. click on over and give it a read!


in all seriousness, tho: i am so profoundly honored by everything that my interviewees trusted me with in our conversations, and i only hope i can do justice to you in the writing of it

blank books: *usually last me a little over a year, give or take*
this blank book: *is only 21 days old, but is nearly halfway full (108 pages out of 251), and contains *only* the interview notes for *one* journalism project*

"Entering to sing Puccini’s “Nessun dorma” (None shall sleep) in a massive plumed helmet and a stone butch leather-dyke biker jacket, Oratonio managed to channel both male operatic superstars and various queer elders whose wings I’ve sheltered under. It was a brash set full of wonderfully bizarre turns — a pseudo-Classical arrangement of “Jessie’s Girl” followed quickly by a hard-rock take on “Send in the Clowns” mashed up with “Vesti la giubba” (Put on the costume) — and it was deeply surreal to watch in front of a well-heeled audience who gasped in shock that a drag king could sound like a lyric tenor, and who sat politely through the sloshed-out key changes instead of drunkenly whooping and trying to shove dollar bills into any crevice of Oratonio’s clothing that would hold them."

Read my latest in the San Francisco Classical Voice!


ok, me and the like, 8000 words i wrote this week are logging the heck off, picking up an extra soul, and singing a buncha psalms and prayers with a bunch of queer Jews

שבת שלום, y'all

Brin Solomon a partagé

people are really out there binding their Hebrew Bibles in all sorts of colors when it's clearly called the TANakh?? ugh, come ON

corollary: new music needs to produce more works with boffo endings for me to review

hey friends! big/weird ask, but is anyone up for giving thoughts on ~3,600 words about trans language and history like, uhhhhhhhhhhhh, right now?

hello friends! if you appreciate my writing about classical music, it would mean a lot if you'd consider signing up to support me on Patreon or dropping a few bucks in my tip jar on Ko-fi! <3

Patreon: patreon.com/brinsolomon
Ko-fi: ko-fi.com/brinsolomon

Brin Solomon a partagé

I’m still stunned by the beautiful concrete forms in this building (Sydney Opera House), designed & engineered pre-CAD.

i got real mad about capitalism and climate change and wrote a review of 's new , which is a furious and searing exploration of the . Read all about it over at the National Sawdust Log: nationalsawdust.org/thelog/201

does anyone have recs for online articles that give a decent overview of how indigenous systems of gender around the world were forcibly suppressed as part of the larger project of Western imperial colonialism? can be about one specific case instead of a global overview!

*gets around word count limits by changing all of my parenthetical asides into footnotes*

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