On the CODOH Revisionist forum, there is a four-year old thread entitled Official List of Persecuted Revisionist Scholars. The thread currently has 66 replies, including a couple of press reports about my situation dating back a year or two.
One recent reply, however, is a link to an article with a newly amended ‘official’ list, first published two weeks ago by Peter Rushton on Jailing Opinions (a site that now appears to be the object of a rebranding exercise: the Real History Blog.)
My legal trial (including three jail terms) and contribution to the revisionist cause are deemed so utterly worthless that my case doesn’t even get a mention. Certainly, other names are missing, too, (and the term ‘scholar’ can only be applied loosely to some of those mentioned). I do hope readers will forgive me if my tone comes across as wanting to assert a sense of my own self-importance. Please be assured that my motive is to tell the truth about the Revisionist scene, from my own perspective.
Above: me, centre, leaving Westminster Court after my first hearing, December 15 2016. Unexpectedly, Michele Renouf, right, appeared (in fancy dress), apparently to show support, before turning against me with the help of my own ‘expert’ witness, Peter Rushton, in a maliciously vindictive attempt to have me ‘surgically removed’ from Revisionist circles, – but only once I had been found guilty.
Those of you who watched my recent BitChute video will know that this latest number is another TMML Productions collaboration with Gerard Menuhin.
After receiving the first version from Gerard in 2017, I did have a go, but wasn’t quite ready. Some ideas are best shut in the bottom drawer then dug out again after a few years. Five years. Hard to believe.
One of my issues with the words at the time, if I remember rightly, was the fact that the character in the song has transitioned from male to female. How could I perform such a role convincingly? Nor was I able to find a solution for the rhythm and phrasing, until about a fortnight ago, when I came up with a bossa nova theme, one that I feel fits perfectly with the incongruous, the unnatural and the unauthentic. Almost six minutes of bewildering musical loveliness – at least that’s my own impression.
This number follows on nicely from two other recent satirical songs, Mission Photo-op and Anything Goes, – the latter to be re-released as a “live” vocal version. One more swing number and I will have a second E.P; both produced in under four months, since October.
It is not currently in my interest, legally speaking, to rake in donations – although if you wish to contribute a small sum I would be very grateful. (I need to make sure that my websites are up-to-date, possibly offering some form of subscription.) It would be great to hear your suggestions regarding what kind of music or topic you would like to hear more of, within reason of course. And if you would like to help in other ways, then please like, follow and share if you can.
A fourth and final Covid-19 ditty, featuring a live vocal performance to a backing track that was created after much deliberation with lyricist Gerard Menuhin on the choice of music.
Gerard’s first suggestion was to use the Dave Clarke Five’s ‘Glad All Over’, in particular for the bass drum that is part of the hook line: ‘Because I’m BOOM BOOM glad all over’.
In the end, I adapted that idea to a composition of my own, that nevertheless pays tribute to DC5 in the middle eight.
The sound is decent this time round, but the lighting could be better. Composition of some songs – e.g. my previous number ‘Caught Covid From The Cat’ – can be completed within a day, although there may be some minor changes whilst recording, etc.
Prohibition Mission was supposed to be the third number of a Covid EP. I wanted a catchy melody without the restrictions of a repetitive chord structure, as with blues or rock n roll. Here’s the final result.
Here’s TMML Productions latest jab – at the jab, and at the obedient masses, living in hope that their jab will enable them to get back to “normal”.
A back-to-the-old-days live demo. Quality is now better than it was few years ago, although my means for such a production are limited to what you see in the video: my Yamaha arranger-keyboard, my 30-year old Shure SM58 (easy to see that my Sony headphones have lasted only a fraction of the time) and the Zoom H4n Pro device, partially seen, in the lower left-hand corner. This piece of kit is ideal for home-studio recording, as well as for capturing audio outside. It can be used as a condenser mic, as a four-track mixer and – my favourite setting – as an audio-interface, once connected to a laptop via USB.
For such a live demo, using the Zoom H4n Pro as my audio interface, it’s only possible to record one stereo track (left/vocals, right/keys). This track then has to be mixed and rendered to two separate mono tracks, and then re-mixed, in order to get a decent balance.
The musical inspiration (excepting the middle eight) – as well as the lyrics – comes once again from Gerard Menuhin, who proposed the famous blues number Work Song. For years, as a classroom music teacher, I used the Monty Alexander Live in Montreux version for music & movement exercises. My students were kept on their toes.
Meanwhile, Gerard and I are on a covid roll. Watch this space.
Lyrics by Gerard Menuhin. Adaptation (of Blue Suede Shoes), arrangement, performance and production by me.
This is the latest collaboration between Gerard and I, the first of what will hopefully turn out to be a trio of blues numbers. Please let us know what you think in the comments and please share widely.
Yesterday’s spin from Zionist-controlled mass media regards ‘Holocaust’ Memorial Day 2019 was slightly different than in preceding years. There were, of course, plenty of films and documentaries meant to reinforce the current state religion of Holocaustianity – the world’s newest foundation myth, created in order to control western society and prevent Europeans from attaining their full potential.
From The Guardian – whose founder’s motto, ironically, was Comment is free but facts are sacred:
Moshe Kantor, president of the European Jewish Congress, said: “As each year the number of Holocaust survivors able to share their personal testimony diminishes, our responsibility to honour their experience, to educate the uninitiated grows ever greater if we are to ensure that Jews can live as safely as all other European citizens.
“On 27 January, the world will unite to remember all the victims of the Holocaust – let their voices give us the call to action we need to work together, united, to ensure the future of the Europe we know.”
Notwithstanding my conviction for posting politically incorrect songs to the Internet, by far the toughest battle I’ve faced throughout 2018 has been an emotionally gruelling and bitter test involving individuals who are supposed to be on the same side. For the record, and in order to bring this difficult year to a close, you will find below various extracts and posts taken from monthly updates on this website.
Evidence of a conspiracy to oust me from revisionist ranks has stacked up over the course of the year, some of which is included below, along with articles touching on my trial and other general topics of interest to nationalists and those in favour of free speech. Also featured are several of my favourite writings of 2018.
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