CENTRE STAGE with Zoë Krupka
Zoë Krupka’s four very fine Stereo Stories are studies in contrasts and subject matter.
Zoë Krupka’s four very fine Stereo Stories are studies in contrasts and subject matter.
Stereo Stories published its 500th story this morning.
As we close in on 500 stories, the time is ripe (indeed over-ripe) to re-visit our writers’ guidelines, to think about story length and themes and subjects.
We’d run out of petrol returning from Mildura. Mobile phones were an invention of the future. We couldn’t even see a house light in the distance, let alone a public phone.
I’m standing at the end of a long queue talking to a complete stranger. We both agree we never do this sort of thing. Myself, I’ve generally abided that warning about meeting your heroes.
In this age where there’s supposedly no such thing as bad publicity, where every mundane detail of life can serve as grist to the celebrity mill, the rarest commodity of all is a genuine sense of mystery. Because he was dead long before he was famous, Robert Johnson will never lose his mystery.
This song sounds like Phil Spector has died and is rising to heaven. The track is a religious pop song offering deep gratitude for the divinity that can sometimes find its way into the Top 40. The rest of the album is an abomination.
Stereo Stories' first concert for 2017 was a 90-minute show at The Stage Door Studio, an intimate performance space tucked away in a corner of the Wangaratta Showgrounds. The night kicked off with the starkness of State Trooper and finished with a rousing blues jam.
It'e easy, especially these days, to blow your own trumpet. But what do other people say about Stereo Stories, particularly the live performances?