Defeating Disney spin

1. I'm a fully trained composer with a post-graduate degree. I can orchestrate. Salina Fisher is jealous my synths are meeting with more approval than Rainphase. It's not a question of whether I can play guitar; it's whether I'm the GOAT. My singing is like Paul: I have absolute pitch. 'Oro's Dances requires a guitarist that plays in concert with orchestras to premiere it. If I played any other instrument, this would be a no-brainer. Hence Chris Everest, Vladimir Gorbach... not me. Doing that shit put Gershwin in an early grave. Here's the full score, just in case you heard it was AI: https://www.youtube.com/playlist?list=PLcRO8brBJIoitW0-4vJEjzQrPCSNBwKGR
   

2. I wrote the new songs in Working For Each Other, not Sir Paul. Same with Collective Memories and Echoes In A Stream.
   

3. There's no Gen-AI in the music that we produced this year. Multi-tracks of me playing over myself, or ML of my Sibelius scores.
   

4. Stop trying to exploit my ancestry, then telling me to rewrite my music. Perhaps it's my distinct Māori ears that motivate me to write it that way...
   

5. Yes, I really worked with Sondheim. He supervised my early musicals. Never met him, but he wrote a few times and spied on me.
   

6. 'But we have Beatles experts!' If your experts can't do what Paul did in the early 1960's with George Martin, then they're not really worth their salt. They keep thinking it was codified when the band was really built around their impressive talent for improvising. In short: if they need to refer to the sheet music, they're not Beatles. None of that stuff existed when they did the recording sessions. Just chords. Mr. Hurwitz is a third-rate jazz musician, not a Beatle. Paul's theory was different: I'm like a Beatle, so I'd get it if they gave me the context. That's what made my covers work. By the way, Paul said in the 1990's that Beatles songs should be done with new arrangements that were faithful to the melodies. That's why the world loved my Beatles album. There's no ML on it, only me. You intended to make lame covers with clicks and autotune to supercede the original masters and make billions for Sony. In fact, you would have used ML. In-depth info for the nerds: Sony only owns publishing rights (limited ones). Universal hosts the masters, but those are owned by Apple Corps board members. Paul's officially bought back all his publishing rights from Sony as of April 2026. Any ideas that they have music rights to make four films are exaggerations. At best, they have non-exclusive rights to certain songs. Our film in Wellington isn't illegal, but their actions (with Disney) probably are. The world can smell another Backbeat/Beatlemania...
   

7. 'You can't do this, we've been planning for years!' Yes, and so has Sir Peter. He's spent over a decade working with Paul and Ringo on Get Back and the revised Anthology. He's built a whole library of VFX custom-made for Beatles films. Mr. Mendes wasn't even offering Wētā a VFX contract. That's why he tapped me and sold my pitch to Sir Paul. He knew it wouldn't be illegal to write a competing project. The ad in the trades was proof that Peter was right; no lawsuit emerged. If you took procedural steps that failed to produce a film, then that's your fault.
   

8. 'Why won't you work with our team?' The same team that abducted Sir Paul and nearly killed Michelle? The same team that's spent most of this year insulting me for outclassing you? The same team that's responded to Paul coming out as trans* by raping him? You're all the fucked-up children of the rich that my new song is about... Trust fund babies exploiting people like myself or Himesh. Yes, my Mum put my inheritance in a trust, but it's only six figures. My grandmother died last year; that's why I wrote a film for free.
   

9. 'What did Paul do?' Listened as I did the stems; made comments; overdubbed bass if needed. He changed the title of Sing It From The Heart to Sing It From Your Heart. He sang a note in Moments Flow, and the final phrase in Fingering Her Neck. Most of the producing work that he did involved editing and promoting the film. Btw he can read music now. We're talking about serious pieces as well. Did his own string arrangements for a song in The Boys of Dungeon Lane.
   

10. 'Why are you such a dick?' I'd suggest that you clowns take a good long look in the mirror, then ask yourselves this question: do you really think that a film about a boy band is worth dying over? If the boys and their families didn't have significant illicit interests, you wouldn't care. Their drug empire is even more valuable than their IP; that's what you really want. You clearly don't give a shit about their songs or the 1960's hippie movement that they were pivotal figures in. Disney can't be seen to manufacture psychedelics for their staff, unlike tech bros, but these people would do it for you (or am I missing a trick)? - I'm a dick because you've refused to come to Wellington to negotiate with me. Whether or not you like my script or covers, Apple Corps approves of them. Surely I'm deserving of as much respect as your A-list bullshit artists? Surely my track record and pedigree in musicals is as impressive as theirs? Failing that, I showed the world that I can rock this year. Did any of you bozos? If I'm the best Paul in the world, then you're shit out of luck. I work with him, not you. We don't even have a contract; it's a handshake deal. Given that a company that barely makes $60 million in revenue is standing off against companies making $200 billion (and winning), I'd say we're in the right. Working For Each Other will pay for the Beatles archives in the short term, then Imagine will pay for everyone's archives in the long term. Both ideas I had getting stoned with Paul... that's what we did all summer! I've met him, but we worked remotely (mostly in different time zones).