'please try doing live singing for us'

No. It's not good for my mental health, and I'm not suited to opera or show singing. The jazz album is significantly better because my vocals are suited to jazz. Opera singers can't scat. Opera singers can't produce microtonal scales. Opera people can't produce multiphonics (in several idioms). It's not overtone singing: it's whistling and singing, or activating guttural sounds. Whistling is the same as doing it with a wind instrument. Opera people can't do the Polynesian glissandi. I hate you all for trying to force me to sing as a condition of buying my IP, and that's why I've responded with strict conditions that prevent live performances. The cease and desist letters prove that I've consistently opposed your desires, and ignoring their contents is why I'm now building a harassment case with the intent of getting restraining orders to make me feel safe if I choose to do a gig. No pops concerts. No cabaret evenings. No live performances of any kind. - All that's happened is that I've kept on getting better during my boycott. I've gone from a decent singer into a world-class singer. I'm basically reinventing the wheel when it comes to rhythm guitar, combining my classical technique with the Polynesian thumb strums. However, that's not because I'm interested in performing. It's a hobby, one that often feeds into my real career as a writer and composer. - I'm not reviewing any concerts until this new normal (with restraining orders) is tolerated. There'll be plenty of advance notice regarding which gigs I want to review, and it is the responsibility of Wellington to ensure those restraining orders are enforced. I nearly died, and consistent suicidality is apparent in my medical notes. Your attempts to force me to be Tina or to do a pops gig = multiple hospitalisations. The NZ classical establishment has no choice but to admit absolute fault. You have consistently refused to licence my music, even while blowing smoke. You can commodify a performer, but you can't commodify my preludes or quartet. Those stare you right in the eye and say 'there's another way' - that's why you're all so uncomfortable: your theories don't explain my music. The Wellington theatre dickheads are going to have to give in, particularly over their attempts to bully/berate/cajole/gaslight me into being in their lame shows. Compensation for lost wages and emotional damages will be required. They will have to add up to six figures. - Michael Stoop got in a massive legal dispute with his partner. It cost him $70,000, but he got over $300,000. In a civil or criminal dispute over harassment, the judge would order them to pay a significant chunk of my legal fees, in addition to the settlement. That's why they're trying to force me now, before I can afford representation. I don't need to 'represent' for the trannies by allowing commodification of my image. I need to 'represent' by being myself in ALL contexts, and never backing down over my right to be paid fairly for my IP. VUW must accept this. NZ Opera must accept this. Wellington Council must accept this, and then run a campaign that counters Tory's hate. There is no possible avenue to your desires, but I can keep on making music regardless. I'm a soloist: I don't need an orchestra, I don't need a duo partner, and I don't really need a band, though for the jazz stuff it would help. To me, the whole point is that the guitar is like a string quartet unto itself. Using the guitar, it's really easy to pitch the JI intervals. Pianos are in ET. - I'm not sure of his name, but the lead from Kia Ora, Khalid would be my pick to sing Bahloul in the workshop or show. Someone that's Afghani and has a well-trained show voice. That's hiring for talent, rather than for fame. Barbara keeps on putting me off, but I gather that she's had a go at the Hamdonna aria.