Final terms

The negotiations over my IP have concluded, and these are the only remaining options.

There is only one legal option: Tina dies and VUW publicly apologises for failing to understand copyright law. NZ Opera admits that I didn't get a go in 2020 cos I'm trans and accepts a mature, adult sex story.

Barbara, you need to understand that turnabout isn't fair play. For you, it's irrelevant: you'll still get to sing. When Luke, Cass and others have gotten more turns because a) they studied in New York, and b) films are much harder to fund, then it's fair to say that NZ Opera only sees me as a novelty, while I'm establishing that I'm like Sullivan or ALW. How many of my tunes can their board members hum? How many of Luke's? -

For me, the lack of respect for my abilities is extremely relevant; I'm probably the most well-known show person in the country thanks to the Dakumentary. Yet, despite this, I have also provided an aria that is already doing the rounds, and an outline that the pros think has the goods; yet, despite this, there has been zero discussion of a contract.

They have refused to offer one because they think that I might be Tina for them. Everyone read that script, but nobody paid for it. It's not possible to persuade me, and Tina dies so that Amanda might have a rich and fulfilling career as a composer.

They need to accept that they cannot use that story, or those songs, but must cease and desist as a sign that they respect my IP. I had an idea for a stage piece, and I have gone to the effort of finding a librettist that isn't blushing too much about the ribald nature of my chosen subject.

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Tory and Nadine are obviously complicit in the scam to steal my script, so that demands correction as well. James and Cass are simply banned for life.

Never going to lift it because they're never going to apologise.

There is no reality in which my Shipwrecked songs can be performed live, with two exceptions if I open for Don: Machine Fatigue and The Mist. That is fair and valid, sane and reasonable. The radio play might actually be the type of thing that CNZ would fund, so people should take on that responsibility. 2030 story only, for those angling for the Tina + EP songs vision: that was never possible.

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The named plaintiffs also have to take personal responsibility for the boycott.

They need to understand that boycott as an extension of their war over my IP.

The reason people only know me from the Internet is because of their outright bigotry, and Tory should own that she enabled the drag queens to take bigoted shots at me. Why would I come to a gay bar if that's the way your crowd treats me?