'autogynephilia'

No, that's not how I feel my gender or sexuality. I picture people fucking me, not me fucking myself. Like most women, I view myself as the object of desire. Lots of women have masturbatory fantasies about someone fucking them. This is why Disney keeps failing. They refuse to accept my Polynesian third genderness, even as they intend to exploit it by making a film about my similar ancestor. I'm a bridge between lots of things, including genders. That's why my music is particularly distinctive. - To answer the bullshit in The Guardian... I'm not getting 'too into' things. McCartney is also an expert vocal mimic. A significant portion of Beatles overdubs are just Paul imitating John and George. If it doesn't beat at all, it's likely that Paul did all the voices. How do we know? I did good impressions of them; it sounded uncanny. The idea that only the 'real' (ie male) me is capable of notating concert music is completely false. I wrote my preludes in women's clothes. Wrote being the key word. I literally notated a 25-minute piece for orchestra. Portrait of a Knight was a 40-minute piece. I wrote the score and edited the parts. The Perfumed Garden is over two hours long. Those are sketches/drafts, but they certainly get the point across. The real me is whakawāhine or māhū. This is just transphobia. I'm a third gender, not a mere fetishist. My 'fans' are the fucking fetishists. - Taylor began in musical theatre. That's her secret dream: to make a great musical. She envies my success and reputation as a serious composer. I don't know why: I'm constantly bitching that they never take me seriously enough thanks to my talent for light music and popular music. Baby Face suits both of our interests. I can lend her some of my prestige and skill, while Taylor gets to hang out in New Zealand and direct a real movie. It's Disney's loss that they didn't like the pages we wrote. Everyone else was impressed.