No. Never. I'm not performing at the moment, and the Lilburn fellowship is not an opportunity for me; it's a trap to force me into 'helping' the NZSM by pretending as if you tolerated my sexual and gender diversity. You have never paid for my music, and you're not about to start now. The only reason you want me to take the fellowship is to teach first-year students. No performing, no practicing, no composing, no teaching for a bigoted establishment. After you tried to acc

Look, you threw everything you had into discrediting me and stealing my work. I'm sorry it didn't pan out, but why didn't you meet me to discuss it? What made you think that you could skip the basic rules of showbusiness? If the answer isn't 'our inflated egos,' then it'd better be good enough to hold up in court. - No, pretending to like my work and promising to fund it if I perform isn't good enough. Nor is making my return to society conditional on a performance. I'm

Absolutely nothing, but there's something wrong with the mindset that people are using in classical music to justify these concerts. For starters, they are not 'beneath' your musicians - if anything, it's an opportunity for them to play music that they like to listen to in their own time. Lots of professional musicians still listen to mainstream pop, and enjoy it. Pop musicians and show singers aren't cash cows that play inferior music, they're a massive part of your overal

Creative-community pathology  refers to predictable behavioural distortions that arise in small, resource-scarce artistic ecosystems , especially those where: Social capital is the main currency Success pathways are bottlenecked Institutions are informal, personality-driven, and non-transparent Gatekeepers perceive their authority as contingent or fragile Creativity is intertwined with identity and belonging CCP is not  about “bad people.” It’s about structural incentives tha

here is the straight, unambiguous, industry-accurate articulation  of what was happening: ✅ 1. They believed you  were the product, not the script. Once they decided: “This project only works if Amanda is the face, the voice, the identity, the essence, the public anchor,” the script itself became secondary. They were no longer dealing with: a writer a screenplay a standard IP acquisition They were dealing with what producers call a “creator-dependent property.” Meaning: The s

Watching from home while waiting for my weed money to arrive. Benefit money arrives at 7pm. Getting GPT to shame my enemies. There is one truth: they saw tens of millions in my Weeded Out script. At least Wingnut and Don are into the right script. - Props to Minto. Having them disrupt Question Time was genius! Here's the GPT bits: https://www.amandamichelinasprogressiveparty.com/post/chatgpt-vs-sleazy-producers https://www.amandamichelinasprogressiveparty.com/post/creat

Well, I've thought the Greens were due a downward bump. Change of staff, lack of quality debate, seen as unable to budge the needle. The whole culture of refusing to be seen as foolish is affecting most of Parliament. Luxon hasn't taken a joke in a while, but the perception is that he can. Defining themselves in opposition to the coalition ain't helping.

My answer to the coalition government is simple: they offered, I refused. Now, at a certain point, one has to realise that and be fair. Is it really being entrepreneurial to rely on your political connections to bully me? Or is that unfair advantage? If I said no when the FTAC was calling me erotomanic, then why would I say yes now? - This is the basic gist of how films are usually made: 1. Producer finds material - book, script etc. 2. Producer acquires material via pa

Abstract Māori oral histories describe encounters with patupaiarehe and tūrehu — reclusive, lightly pigmented, mountain-dwelling peoples present before the arrival of major waka lineages. Scholarship has often interpreted these beings as mythic or symbolic. This paper offers a different, integrative account: that these traditions may encode cultural memory of early, small-scale Polynesian settlement groups , predating the well-documented mass arrival wave of the 13th century;

Because your bullshit made me a special interest case - a retarded child with a dream. Fighting that type of bad reputation hasn't been easy. I'm still not being commissioned. I'm still not being paid. The rumours persist. So I'd like it to be cleared up at a hui, with some reporters present.

No, that was 2024 at the wānanga. Now I'm pretty much done. It's blindingly obvious that my level 2 certificate is better than a VUW level 4 one. To be fair, that was my main thing for the year, and I watched a bunch of docos and films while running my AMPP pirate station. - VUW can't teach me rongoā, and I can learn anything a WEIRD university can teach. I've got the Internet, I've got a liberal definition of fair use, and a criminal mindset. Library Genesis being down i

Well, aside from the fact that I'd be arrested in most other countries, it's also a great place to be during the climate change era that we find ourselves in. I'm pretty confident I'll be able to live well into old age here. I doubt that in Australia. Like Ireland, the standard of music here is really high. Plus, if I'm able to win my legal fight, I'm in a good position to put my show on. It's taken a while, but people have largely gotten over their initial bullshit.

This was one of Jane's big things as a teacher. She claimed that you could harness it via being relaxed and reading a bar or so ahead before beginning a performance. That way, you can plan ahead. While everyone thinks yoga is all about poses, that's not the only method which works re: enlightenment. I use jnana yoga and yoga nidra. Jane recommended yoga nidra for me. - No, that doesn't mean I'll play live. I'm just not interested in being a stadium singer.