Sunday, November 10, 2019

Rubbing the gendery sleep from their eyes







What Burns misses is that most gender critical women have no real concern for how adults wish to live and to express themselves. Their real worries came when the very act of defining the word “woman” as adult human female was labeled a prejudiced act. Women began standing up and rubbing the gendery sleep from their eyes when the concept of womanhood changed from the culture of those with biologically female reproductive systems into those who costume in feminine garb and claim they feel like women. The gender critical feminist was born when men who wanted to dress, express, and live visibly as women declared that not only are they women now but have been their whole lives.  
That was the first problem. The second problem came when the transgender movement, under the misconception that those adults who transition to the opposite gender had been the opposite gender all along, began foisting this in both ideology and practice onto children. The idea was that if adults had always been trans, there must be trans children, and those children could be saved trouble in adulthood if they were able to transition in their youth. This led to the medical and pharmaceutical industries feeding drugs and surgeries to the young under the guise of a panacea for their lives.



Pauline Murray and the Invisible Girls




Thursday, November 07, 2019

On the road



The biographer David Leeming, in Stephen Spender: A Life in Modernism, reports that “the weather was impossibly hot” during the trip and that “one night the only room they could find was in a brothel. More pleasant highlights of the trip were Lenny and Bertie’s keeping themselves awake to drive by singing the complete score of Britten’s opera Peter Grimes; Stephen and Lenny pretending to be T.S. Eliot and Serge Koussevitzky; and the trio’s listening to a recording of Bernstein’s recently released recording of Gershwin’s An American in Paris in a Santa Fe music shop. As the record played, Bernstein stood near a photograph of himself, but no one recognized him, even though his brother and Stephen addressed him loudly several times as ‘Lenny.’ ” 
The impromptu renditions of Peter Grimes made an impression on Spender, who told Secrest: “He was mad about Ben Britten. All the way across America he sang the music from Peter Grimes. Of course, Britten hated him. Britten once told me the only person he had ever hit was Bernstein, in a taxi I think. Auden, too, disliked him. I think he thought him vulgar. I always got on extremely well with him, but I was aware that there was something very public about him, so that it was difficult to have a personal relationship.” 
James M. Keller in The New Mexican
Unrelated photograph of Josef and Anni Albers.
More Lennie:

Wednesday, October 16, 2019

Straight No Chaser

Soon after high school, Clark Terry traveled with Ida Cox and the Darktown Scandals in the Reuben and Cherry Carnival. After finishing a tour, the group went south from Pennsylvania to its winter quarters in Jacksonville, Florida. Clark said, ‘I was hanging out with William Oval Austin. We called him Fats Austin. He was a bass player. We had no warm-weather clothes. We went to the five and ten cent store to buy some T-shirts. They cost about 15 cents in those days.’ 
The store was crowded and Austin bumped into an elderly white woman who used a cane. She started screaming, ‘That nigger tried to knock me down. Kill him, kill him!’ Clark and his friend edged their way to the door, and as soon as they were outside began to run. A huge, screaming mob formed behind and ran after them. They came to a construction site, where a new round building was being erected. Fortunately for them it was a Saturday and the site was deserted. They ran into it. Clark pulled Austin down into an excavation and the two young men covered themselves with mud and debris. They could hear the crowd running above them. At last a silence descend. ‘But we stayed buried in that mud till dark,’ Clark said. At last, cautiously, they crawled out of the excavation and left.
Gene Lees, Cats of Any Color: 
jazz black and white
Oxford: OUP, 1995, 189






Clark Terry - Flugelhorn 
Bob Brookmeyer - Valve Trombone





Tuesday, October 15, 2019

Surrender to the rhythm



For what it is worth, the earliest use of the term ‘pub rock’ I have found is in the November 1973 issue of New Society, the British sociology magazine, in an article by Andrew Weiner titled “Rock to the Top.” He identifies  Brinsley Schwarz (named after the band’s founder), as the first pub rock band, which started as a progressive band but, after a while,  ‘They no longer wanted to "progress." They played much simpler music now, country-rock, and soul, and straightforward rock and roll. Finally, Brinsley Schwarz began playing in pubs, starting with the Tally Ho, and slowly establishing a circuit…’ 





Weiner also writes, 

Clearly, the pub-rock boom was as much a consequence of a decision of a section of the rock audience as it was the result of the actions of a few musicians. Pub-rock began to grow just as the great "progressive" boom in English rock began to peter boom in English rock began to peter out in in a welter of eight-minute guitar solos and rain-sodden mass festivals. Like the new pop music of the teenage idols, such as David Cassidy, David Bowie, pub-rock was a kind of reaction to the fake profundities and cosmic inanities and pure dullness of most progressive rock.



Saturday, August 31, 2019

Best practice

The recently revised Ministry website says that “blockers are a safe and fully reversible medicine”. … “to help ease distress and allow time to fully explore gender health options.”  
And the best practice advice says that “although some neurodiverse people may have difficulty in articulating their gender identity, this should not create an unnecessary barrier to access any relevant gender affirming services. Some people may express their gender identity non-verbally.”
In other words children, who may have autism, or be mute or unable to explain abuse, trauma or homophobia may be put on puberty blockers even if they cannot properly express what they feel. 

Stereolab:



Thursday, August 29, 2019

The financial quarter








































115 Claremont Road, Wavertree:
















Stevie Wonder, 1974

Lead Guitar: Michael Sembello Rhythm Guitar: Marlo Henderson Drums: Ollie. E. Brown Vocalists: Shirley Brewer, Lani Groves, Deniece Williams















Wednesday, August 28, 2019

Reversal of fortune




That time Facebook suspended me for posting a story about Facebook reversing a ban.

























































Led Zeppelin:








Saturday, August 17, 2019

The men's room





This essay will address the absolutely bizarre context within which the gender debate is now taking place, and what this consequently means for the afore-mentioned concept of, and implications for, women. What this means is that – and I will say this explicitly — this is a critique of a particularly malicious and rancorous strand of male-driven trans-activist ideology that has developed as a result of mixing destructive masculinity with the communicative platform that living in the digital age provides.

Tom Farr





Howard Roberts, fusion: