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.
During the years I spent teaching in Swiss secondary schools, in-training days were often orientated towards how to motivate a class of musically mixed-ability teenagers to sing together tunefully and with conviction. One of these training days I remember in particular, given by a male colleague who, during a football World Cup championship, had filmed all the participating teams singing their respective national anthems. The lesson was clear: more often than not, teams who sang with passion and heartfelt conviction went on to gain satisfactory results.
International sporting events have long been one of the subtle ways by which Globalists have been able to implement their agenda of mass non-white immigration into European countries. Most noticeable in football, cricket and athletics, multiracial “national” teams have in recent decades become increasingly present on track, field and pitch. Can a cricketer, for example of Pakistani origin born in England, truly harbour the same patriotism for his adoptive country than an Englishman born and bred in England whose northern European genetic makeup is an integral part of his origin and identity?
Sporting professionals who happen to be British citizens born of foreign parents have the choice whether they compete for Britain or for the country from which their parents originated. Is this fair? Does this not raise questions of possible conspiracy? Would this be one reason why English national teams in so many disciplines tend to produce disappointing results?
By Gerard Menuhin, reproduced with kind permission.
ABOUT TRUTH and HATE
“The further a society drifts from the truth, the more it will hate those that speak it.”
We all know the expression ‘the truth hurts’. The truth can indeed be hurtful, but secure, grounded people can accept it and even grow when they hear the truth.
However, truth doesn’t mean the same to everyone. Whereas to the overwhelming majority of the world’s population ‘truth’ represents what actually happens or has happened and is therefore vital to all relations and transactions, to a minute, rootless but vociferous minority of professional victims, ‘truth’ is a flexible concept, to be used expediently.
As a matter of policy, to gain an approximation of the truth, it’s usually wise to invert everything this minority says. That is to say, when they claim something, particularly when they accuse others of something, that assertion must be assumed to define their own actions and attitudes. They don’t invariably lie in the accepted sense of making something up, they just stand the truth on its head. How to explain this?
My site has a new domain name with further visual and functional upgrades coming soon. I can also upload videos directly to my site – quenelle to YouTube! All previous posts and photos remain intact under the new alisonchabloz.com URL.
Here’s a recent version of my short performance in Vichy at last year’s celebration in honour of Professor Robert Faurisson‘s 88th birthday. As well as Gerard Menuhin’s Tell Me More Lies, you can also hear a little speech I made in French (with English subtitles) at the beginning. Charmant, n’est-ce pas?
Parisian Songs of War – Giuseppe Fallisi and Alison Chabloz
Yesterday, I finally received the full video footage of Italian tenor Giuseppe Fallisi and I performing together in Vichy last year in honour of Professor Robert Faurisson’s 88th birthday. Although the acoustics are far from perfect, it was a pleasure to listen again after all this time. Entitled in Italian Parisian Songs of War Mr Fallisi’s own musical compositions take the words of Baudelaire, Rimbaud and Verlaine – poets studied and taught by the professor. Indeed, the professor first became known to the French public at large because of his work on the poetry of Rimbaud.