Bigoted double standards

This is true of classical music and dramatic music, not every single job. Men = composer by default.

Women = composer by second default.

Trans = performer who writes for themselves.

That's what I'm fighting against, and that's pure discrimination. Drag queens are better making futile shows for the converted than using Facebook to advertise themselves to the masses: that's what the powers-that-be believe. - Because I'm trans, I can't possibly ask another guitarist to premiere my preludes. Because I'm trans, I can't possibly expect singers to read my music, listen to my coaching and then provide accurate and emotional interpretations of my songs. Even though Barbara, Hannah and Phillip doing precisely that is why I'm famous.... Because I'm trans, I can't possibly understand nuances of microtonal theory. Because I'm trans, I must be crazy/autistic/unwell.

You may have found my pitching of the microtones and the 90-cent scale fascinating, but the contention of my essay is that all human voices are reasonably capable of pitching those intervals if they forget about the equal tempered grid.

Yes, I have an unusually pure voice that precisely shades the notes, but the downside of such a voice is that it's not powerful enough for opera. I call it a marking voice: as in, I can mark tones highly accurately, but others have the power and lived experience to find those notes and give the showstopping performances.

Wellington theatre geeks are going to have to listen to me as a boss, rather than pretending as if we're equals. That's the price of doing the show here. Sorry, we're not equals, particularly in this context. While I'm a capable performer, my songs are significantly better than my renditions of them. As Sondheim said, what you're really responding to is the quality of the songs, not my wispy but accurate voice. That's what he meant about songs naked with a piano: the quality shines through, but the audience wants Bernadette Peters or Angela Lansbury + lighting, not some nebbish. I've always hated performing, outside of the parlour music context of classical guitar. Started so young as a guitarist that I'm always drawn to those things, and that's actually been the hardest part of my boycott, though hopefully I'll turn up to Lucinda's recital.

- It's very similar for cinema. In The Dakumentary, it's abundantly clear that myself, Arik and Dakta shot most of the best footage. The media stuff is workmanlike, while that stuff is truly cinema, not to mention all those groundbreaking AI VFX in Season 3.

Why do my films work? Because I know what shots will and won't cut. Steve Barr doesn't know. He's guessing using Hollywood theory, while I know. Because me and my DPs know how to capture natural light better than the industry, and our style isn't obtrusive when we do use lights (unlike most Kiwi films). Weeded Out without me behind the camera will always fail, which is why those pricks have attempted to reword their threat so that I can direct. Too late. I'm most of the way done with turning Weeded Out into a book. Unfortunately for Tory, Steve and Ainsley, that's a valid reason to prevent production.

- I'm attempting to view the positive: my script + my songs are worth millions.

But only if some cisgender hack puts their name on it. If their pirated script is produced, I'll file an injunction. If anyone in the film industry had had the guts to track me down, write me an email and set a meeting from 2022-2025, it's very likely that a film based on my spec script may have been produced and that may or may not have helped Wellington's lethargic state. Instead, I've got an opera to put on, a country to change, and an election to win.