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#αιμορραγείς #γεμάτη τύψεις

CIADirectorRichardHelmsOliverStoneNixon

 

It’s that moment you realize you are looking at another Alexander

ThatMomentYouRealizeYouAreLookingAtAnotherAlexander_ContraPoints_Natatlie_Lolita_Pedophilia

“My favourite novel is Lolita.”, said the self-declared feminist. Calling yourself a feminist while being a pedophilia apologist is the ultimate slap in the face betrayal. The ultimake swindle, the ultimate irreconcilable unforgivable battleship sinking hypocrisy. You cannot be a feminist and a pedophilia apologist. Either you are crazy or malicious or both that you think you can be.

ContraPoints_Natalie_Lolita_Pedophilia_On_The_Shelf

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I swear, I don’t know what I have to do stop myself from going absolutely ballistic over this pedophilia apologist pretending to be a feminist right now. I could write another essay this long about my sense of betrayal and rage, but to what end? I cannot believe these feelings of rage and betrayal inside myself. How can I not write about what I am discovering? How can I be asked to keep all these things to myself? How can I not show people what is plainly there before my eyes? Faux feminist pedophilia apologist, you’ve just made an enemy. Yes, when I first encountered you I was impressed and I admired you, just like I once admired Alexander. I cried and fell into a dark hole when I discovered that Alex is a pedophilia apologist, and I cried again today as I discovered that you are one too. Andrea Dworkin once worshipped Allen Ginsberg.

And so by this time, Andrea herself was a very famous published writer and a very famous feminist, and of course she wrote, as in Woman Hating, as Sheila shared with us today, about violence towards women, about sexual abuse of women and children. And Ginsberg had a problem with this. Now why did he have a problem with this? Because he was a child sexual abuser. Because he was a member, I think it was of the North American Man-Boy Love Association, which is what is known as a pedophile organization, and his particular liking was for 12-year-old boys.

Now this was a bar mitzvah. Now who are at bar mitzvahs? 12- and 13-year-old boys and girls. And so this particular day that Andrea got up and decided she would behave herself, was their godson’s bar mitzvah, and she knew Ginsberg was going to be there, and that very day legislation had just been clarified about child pornography being illegal. Now she was delighted. She knew Ginsberg wouldn’t be, so she tried to avoid him. And there’s a photograph, isn’t there John, of her standing with his arm around her–you know those awful photos at weddings and things, where you’re going [laughter]–and he’s there, and he kept following her around saying what’s your problem, what’s your problem, is it because of the legislation, this is why you won’t talk to me, you’re a nazi, you’re an idiot, etc. And she said, yes, of course, I have a problem with it, because I’m a feminist, and I don’t think that children should be abused and raped, which you obviously do. And he said, “Well, I’ve never met anyone with your views who’s intelligent,” and she said, “Well, you havent been out much, have you?” [laughter]

And I was recounting this to her on the phone, and she said, [husky American accent] “Oh Julie, you’ve gotta put that in the piece.” And I said, “I promise you I’ll put it in the piece.” And we then remembered in 1997 or something, when somebody from one of the British broadsheets had interviewed her, and she had told the Ginsberg story, but he was tragically still alive, so the lawyers run scared and took the piece out about Ginsberg being a child abuser. So I said, “It’s okay, he is dead, isn’t he?” [husky American accent] “Yes, he’s very dead.” So I put this in my interview with her. And then when it came out, guess what? They had taken it out. And they had something really weird in there, like, so Andrea went up to Ginsberg and she said, “I think you’re horrible,” and he said, “Well why, is it because of the legislation?” And I then said, “Well, yes, because you’re foul.” [laughter] And he said, “Listen to me, the Right want to put me in prison,” and she said, “Well, actually I’ve got a bit more imagination than that, I want you dead.”

The true story is that Ginsberg was a child abuser, a child rapist, and Andrea has so eloquently written about it in Heartbreak, and it really would I’m sure, wherever Andrea is, thrill her if you could buy it and enjoy all of it, not just that section.

http://feminist-reprise.org/library/resistance-strategy-and-struggle/julie-bindel-speaks-on-myths-about-andrea-dworkin/

I know now how she must’ve felt learning about Ginsberg’s pedophilia. I already went through this years ago with Alex but I will never get used to the feeling of betrayal, or the sense that betrayal is lurking everywhere and that I cannot even trust the art I look to for inspiration or consolation. That the male artists I admire will all turn out to be Roman Polanski childfuckers in the end. That they are so evil and Machiavellian and compartmentalized that they can rationalize the raping of children on the one hand and still think of themselves as Social Justice Warriors and feminists on the other. That they will lie to everyone straight faced about being feminists while secretly wanting to rape little girls, using feminism as a cover to do so. That I will begin to see all men like this. I thought you were only joking when you remarked on one of your Livestreams that you were eyeing the two Japanese girls across the street from your house. I see now you weren’t joking at all. I thought you told your Livestream followers to go and see the Louis Theroux documentary about the pedophiles because you thought it was just an interesting documentary. Now I see there’s something else behind it, there is a pattern of gradually revealing more and more what you are. You might as well be asking your followers to download Maladolescenza like Alexander did. I caught him doing that on Facebook and that’s when I realized what he was. And you, you too are an apologist of predators and monsters which makes you too a monster in my eyes.

WhyPedosInContraPoints

I know that no one is reading these blog entries right now, but maybe one day, maybe when it’s already too late and you’ve already caused harm to many, someone trying to make sense of what happened will see this and they will realize whom they’ve let into the hen house. I know you will get more and more famous like Milo Yiannopoulos, and once you’re at the peak of your performance, maybe someone will come over here, see how I posted about your pedophilia apologetics when no one was watching and proceed to expose you like Kevin Logan did with Milo. Kevin’s video about Milo was ignored at first but it was picked up eventually and it was that little video everyone had overlooked and almost no one had bothered to watch that was finally seen by millions and thus became Milo’s downfall. All I can do right is document what I have found: the face of male feminism in the 21st century is a bedroom racist pedophilia apologist MDMA punk of a drunk in a dress.

So wie damals, als er mit einem Tor-Entwickler darüber scherzte, welche Sexspielzeuge Appelbaum dessen Tochter empfehlen würde.

Did you think I was exaggerating when I wrote that I saw another Jacob Appelbaum in the making in you? You are all the same. Monsters in my eyes.

I hated Alexander over this song once I realized what it was about, I literally couldn’t listen to it anymore, but this disgusting sickening song of his is the only thing that calms me down somewhat lest I become completely consumed by my sense of betrayal and rage.

Wounds upon her unfathomable left hand
Wounds upon your stupid face

Smaller
Younger
More tender
Your children feed her on a daily basis
She keeps a hero within her heart
An iron trap at the edge of her penis
She grinds up fresh meat on the Sunday
Sunday is the day of the black blood
Say a prayer for the Silent one
And she will say a prayer for you in return

Redder
Hairier
Harder
Upon encountering you it turns horrific
Incensed at the crosses with the four fleshy entrances
Incensed at the cunning swastikas that whip it up mercilessly
Froth from her mouth falls upon your chest
And upon your ass
Do you like to get assfucked
Or are you trying to get punished
Or are you trying to demand the attention of Gawd
Her hands were choking you by the neck
And your mouth
She covered your mouth
She whispered
Are you trying to escape
Or were you trying to demand the attention of Gawd

 

 

2:16:02 Do you like pegging? Do you wanna peg me? I liked being pegged! Because it’s the most unnatural of all sexual act. Especially if it’s a cis woman pegging a cis man. Because you have a perfectly good vagina, and a perfectly good penis in a room, but instead of using those things for their Gawd-intended purpose, you’re like “Naaw, I don’t wannaw”. Instead I want the person with a vagina to put on a fake penis and fuck the person with a penis in the asshole, and that’s amazing to me. Because it’s like a big “Fuck you Gawd! I don’t play by your Gawddamn rules. I’ll make my own Gawddamn rules, Gawddamnit!”. This is way too much talking, I’m gonna stop talking, I’m just gonna talk a little less. Gawd is dead and we have pegged him, agreed, agreed.” 

 

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DOING IT RIGHT: Tom Delonge, former Blink-182 singer, has become a fellow pedo hunter! Woohoo! Welcome to the club Tom! Making the world a better place! -> http://pagesix.com/2017/08/02/former-blink-182-singer-tracked-down-alleged-sexual-predators/

That’s how you take care of pedosickos -> https://www.yahoo.com/news/m/f98a282e-05d4-3a57-86cf-0b3b13eeb389/ss_former-blink-182-singer.html Thank you Tom Delonge!

“THESE A—WIPES ARE GOING TO JAIL FOR TRYING TO [KIDNAP] A 15-YEAR-OLD GIRL 48 HOURS AGO,” Delonge, 41, wrote on Facebook.

 

Excerpted from a Greek music documentary on the rebetika legend Markos Vamvakaris:

MarkosVamvakarisCensoredLyricsMetaxasRebetika

He wasn’t allowed to sing these lyrics during the dictatorship of Metaxas, but the fact is if someone wrote similar lyrics today they too would be censored.

The reality with free speech in Greece  nowadays is more like this, with the same censorship of bloggers we see everywhere else in Europe:

Blogger, άνεργος και εθελοντής διασώστης, που κατήγγειλε αντεργατική συμπεριφορά εταιρίας security, καταδικάστηκε ερήμην με χρηματική πληρωμή και εάν δεν την πληρώσει η ποινή του θα είναι φυλάκιση 12 μηνών.
Ελληνική Δικαιοσύνη: «Καταγγέλλεις εταιρία security για αντεργατικές μεθόδους; Ή πλήρωσε ή μπες φυλάκιση»

Κυβέρνηση: «Θα τσακίσω τα μικρά blogs, θα δώσω λεφτά στα συστημικά ενημερωτικά portals και θα πω πως είμαι αριστερή»
Κυβέρνηση: «Θα τσακίσω τα μικρά blogs, θα δώσω λεφτά στα συστημικά ενημερωτικά portals και θα πω πως είμαι αριστερή»

https://aftakiarecords.bandcamp.com/album/–2

I’ve been asked, “What was it like to create and perform music with Prince?”. My rebuttal was usually a tongue in cheek, “Ask him what it was like to create and perform with me.”
– Drummer Sheila E. following Prince’s death.

I am sick and tired of the post-mortem myth making as to the role of women and especially the role of female musicians in Prince’s career. The following article from Jezebel.com is bathing in denial and revisionism:

Prince Spent His Life Elevating and Mentoring Women
http://themuse.jezebel.com/prince-spent-his-life-elevating-and-mentoring-women-1772479454

Prince Spent His Life Elevating and Mentoring Women“? Oh really? Tell that to Prince’s powerful soul singer Rosie Gaines, whom he failed to give co-writing credit and even failed to pay her for her contributions. Tell that to Sandra St. Victor. Madonna said it best in Rolling Stone: Prince had a harem of disposable women with whom he made records and whom he discarded as soon as he was done with them. This statement by Madonna is corroborated by the interviews that attorney Alex Hahn took of former Prince colleagues for his book Possessed; The Rise and Fall of Prince. Quoting from the book:

p. 178: “Gaines sent much of her weekly wage (about $ 2,200) home and had only $800 to her name when the tour ended. Just the same, she put her belongings in a truck and drove from Minneapolis to her home in Pittsburg, California, quitting the band for good. Although he would later work with Prince in the studio on several occasions, she would long harbour resentment about what she considers an absense of complete credit for her songwriting contributions on Diamonds and Pearls. ‘A lot of those were ideas the band came up with’, Gaines asserted. ‘He told us before doing [Diamonds and Pearls] that we were going to be like a family, we’re all going to do it together, and we’re going to share in it together, and we all trusted him. That’s our fault for not getting it on paper.’.
When Gaines approached Prince about songwriting credit, he made it clear that he considered Diamonds and Pearls his work, and he disagreed hat she deserved more money.”

 

p. 179: “Life on the road was also sometimes hard for young Mayte Garcia. Although Prince continued to treat her as a girlfriend-in-waiting, he took no steps to insulate Mayte from the rambunctious, male-dominated atmosphere that surrounded the tour. Gaines recalls on several occasions seeing Mayte in tears on the bus and in dressing rooms, apparently overwhelmed by feelings of homesickness. When Mayte was summoned to the inner sanctum and felt the glow of Prince’s attention, it felt magical. But at other times, left to her own devices, she was simply a confused teenager with no one to talk to.
As Rosie Gaines watched the Prince-Mayte courtship unfold, she marveled at how much this young woman resembled his previous girlfriends, both in looks and temperament. She was another young woman who could not have been easier to manipulate. This would likely be another relationship was would persist only until Mayte – like Kim Upsher, Susan Moonsie, Susannah Melvoin, and Anna Garcia before her – grew up enough to object. “She was too young to have her own thoughts yet, and Prince liked that,” Gaines remembered. “But I knew that would change.”.”

 

p. 181: “Alan Leeds, who in 1989 surrendered his post as Prince’s tour manager, to become president of Paisley Park Records, “He never displayed the ability to park his own agenda. When he produced PattiLaBelle, it sounded like a Prince record. It became his vision, not the artist’s.”

 

p. 184: “There remained few if any strong female confidants in his life (a role that Rosie Gaines briefly fulfilled), as young companions like Anna Garcia, Mayte Garcia, and Carmen Electra were discouraged from offering their opinions and served primarily as pretty muses.”

 

p. 205-206: “St Victor had assumed that she and Prince would work together face-to-face in the studio, where an artistic dialogue could take place. (…)  St Victor came to see that he had no intention of treating her as an equal partner, but simply wanted to make use of whatever interesting ideas she might have to offer. She realized that her frustration was probably quite similar to that experienced by other independent-minded female artists, such as Rosie Gaines, who had worked with Prince. While the notion of collaborating with him had at first seemed like the opportunity of a lifetime, it had, for the moment at least, ended disappointingly.
“When Prince shines that light on you, that energy, that respect, that admiration, it’s easy to want to put your life in his hands,” St. Victor reflected. “It’s a very bright warm, God-like light. But when he shuts it off, you’ve never known cold like that.”

p. 229: “Old friend Rosie Gaines participated [on the 1999 remaster], but says she again was not paid.”

Prince was really into Jedi mindtricks. Here is how Alex Hahn describes Prince’s tendency to mess with people’s heads, especially when it came to his younger proteges:

p. 149: “[Anna] Garcia [= Prince’s then 17 year old future girlfriend], while not on the payroll, was another one of Prince’s minions. He placed a premium on docility and preferred to have her just listen to him create music or brainstorm plans for the future; her opinions were not welcome. But whatever her doubts about this arrangement, Garcia remained very much smitten by Prince and was hopeful that she would, with her eighteenth birthday approaching, emerge as his primary romantic interest. He remained enchanted with her as well, largely because she remained something of a blank template on which to sketch his fantasies. He particularly delighted in playing mind games with Garcia where he would describe a hypothetical situation and ask how she would handle it. When she responded in a way that he perceived as “wrong”, he assumed a disapproving air; when he liked the answer, he was encouraging and affectionate. Garcia resented the manipulations and felt as if Prince were trying to turn her into a different person.”

Not only did Prince replace Vanity with a lookalike in Apollonia just before he began filming Purple Rain, he did it in such a way so that Vanity would see Apollonia, realize how alike she and the new woman were and thus understand that to Prince either one of them was just a replaceable cog in the music making machine that was Paisley Park at the time. Here is how Alex Hahn describes it in his book:

p. 63: “Shortly after recruiting Apollonia, he took her to a Los Angeles club where he had heard that Vanity would be partying. Vanity, who had not yet learned anything about her replacement, was shocked to see a woman dancing nearby who looked like a mirror image of herself. The message was clear: In Prince’s world, anyone was replaceable.”

And last but not least, lesbophobe sexist Prince had demanded that his former colleagues Wendy and Lisa hold a press conference to “apologize” to the public for being lesbians as a condition for reuniting with them:

p. 241: “Ex-Revolution drummer Bobby Z. Rivkin, who visited Paisly in 2000, was forced to listen to Prince and Larry Graham engage in a homophobic rant, according to another former band member whom Rivkin told about the meeting. Prince explained to Rivkin that prior to any reunion of the Revolution (and idea discussed several times over the years), Wendy and Lisa would be required to publicly renounce their homosexuality. As Rivkin listened incredulously, Prince said he would insist that the women hold a press conference and “apologize” for their lifestyle.”

Nothing more amusing than to have to watch lesbians of all people defending Prince on my timeline, when Prince was a documented lesbophobe. The public record plainly shows that Prince did not treat his female musicians fairly, that he basically exploited his female musicians to showcase only his personal artistic vision, not theirs, and that he considered these women replaceable cogs in his music making machine. Can we stop all this post-mortem myth making and look at the facts please?

BTW, you know who else likes Prince? This one does, having recorded THE WORST COVER EVER of Prince’s song for Sinéad O’Connor, “Nothing Compares 2 U”. He abbreviated the song title at the time to prevent Prince from having it removed from Youtube, like Prince did with many other online covers of his songs during his lifetime, a trick which apparently worked to preserve the song. Oh well, let’s take solace in the thought that Prince died having never heard this abomination:

 

Here is how O’Connor originally had described her encounter with Prince:

“I did meet him a couple of times. We didn’t get on at all. In fact we had a punch-up.” She continued: “He summoned me to his house after ‘Nothing Compares 2U’. I made it without him. I’d never met him. He summoned me to his house – and it’s foolish to do this to an Irish woman – he said he didn’t like me saying bad words in interviews. So I told him to fuck off.” She said “He got quite violent. I had to escape out of his house at 5 in the morning. He packed a bigger punch than mine.”

https://en.wikipedia.org/wiki/Sin%C3%A9ad_O’Connor#Remarks_about_Prince

And here is The Boy with his friend Felizol ruining Prince’s “Kiss” beyond all recognition at a live show. And notice here again how The Boy tried to prevent a Youtube takedown from Prince by spelling the title of the song backwards, as “Ssik”, to prevent it from being discovered:

http://nonoithsnystas.blogspot.gr/2015/10/10-2015.html