Source: SoundCloud / Ash Shields
Today, is transgender day of remembrance. Where we stop with our own day to day fights and remember those who lost their lives in the community. Thank you to all who helped me put together this list of names and cause of death. It is an issue that people need to know exists. Some of these kids are younger than me, men and women it makes my stomach churn. This can not go unnoticed So this year we pay our respect to the fallen transgenders from all over the world:
- Fernanda Queiroz: beaten to death
- Yeison Ramirez Acosta: multiple stab wounds to the face, chest, and abdomen
- Dicky Othman: hands and legs bound, and her mouth stuffed with a piece of cloth
- Renato Espinosa Reyes: multiple gunshot wounds
- Gunce Hatun: stabbed in the chest
- Camila: beheaded and burned with partner in their home
- Dalvalei José Alves Pereira: beheaded and burned with trans partner in their home
- Evon Young: tied up, beaten with fists and other objects, choked with a chain, had a bag taped over his head, shot, set on fire, and discarded into a dumpster.
- Nicole Galisteu: Gunshot
- Daniel Mendoza Ricardo Macias: multiple stab wounds.
- “Tiffany” Wesley Holder: multiple stab wounds.
- unknown woman: stoned, stabbed in the neck with a broken bottle
- Karen: multiple stab wounds, beheaded.
- Naomi Estrada: two gunshots to the head and chest
- Palmira Garcia: partially scalped, signs of torture, laceration to face.
- Mônica Lewinski: gunshot wound to the head
- Joelma: gunshot
- unidentified woman: seven stab wounds
- unidentified woman: multiple gunshot wounds
- Stephanie: beaten and strangled to death.
- Adán Amilcar Iglesias : four gunshot wounds to the head
- Cemia “CeCe” Dove: multiple stab wounds, tied with a rope to a block of concrete and thrown in pond.
- Kelly Young: Gunshot
- Ashley Sinclair: Gunshot in the head.
- Angel Francisco Martinez Gonzalez: beaten and shot in the head
- Rosa Fernando Domingues: stabbed to death. Knive wounds to left eye, neck, and shoulder
- unidentified woman: bullet to head and leg
- Jorge Luciano Soares De Oliveira: blow to the head
- Fábio da Conceição Machado: stoning
- Ronald Feitosa Souza: beaten to death, severe head injuries
- Fatima Woods: stabbed twice in the torso
- Unidentified child: age 13, hanging
- Otávio Nascimento Valadares: Gunshot wound to the head
- unidentified woman: Gunshot wound to the head
- unidentified woman: found floating in a gully underneath a bridge
- Dora Oezer: Stabbed to death
- Jock Maurice McKinney (aka Valarie): a single gunshot wound to the lower body
- Diamond Williams: dismembered, and body parts thrown in a field.
- Natália Sotero: age 16 gunshots
- Rafael da Silva Tavares: 6 gunshots
- Dwayne Jones : beaten, stabbed, shot & run over by a car.
- Mylene: blugeoned to death with a hammer
- Gaye: strangulation
- Valeria: Beaten to death with sticks
- Unknown woman: stoned, skull crushed
- Islan Nettles: blunt force trauma
- Joales dos Santos: gunshot at close range to left breast
- Domonique Newburn: multiple stab wounds
- Wagner Paula Rodrigues: stoning
- Unidentified woman: Severe head injuries, body thrown under a truck
- Artegus Konyale Madden: Gunshot wound to the neck
- Terry Golston: Gunshot
- Melony Smith: beaten to death
- “Maiara” Castro Da Silva: unknown
- Unknown woman: gunshot
- Hilary Molina Mendiola: thrown naked from a bridge
- unidentified woman: four gunshot wounds
- Eyricka Morgan: stabbing
- Brunete Nascimento Chaga: head trauma, beaten to death with sticks
- Natascha: Gunshot wound
- S. Athisward: Multiple stab wounds, hands and legs were tied with a string, face was also covered with plastic
- unidentified woman: strangled, body dumped in a pasture
- unidentified woman: stabbed in the neck
- unidentified woman: Gunshot wound
- unidentified woman: Gunshot wound to the head and chest
- Amari White: multiple gunshot wounds
i’m behind on a lot of posts, and i can’t remember if i’ve talked about these two on here before (i really should have)
first, go cue up their freshly-released ep.
they’re a duo from auckland, and i first met them a few months back when i interviewed them for an article. alex, the vocalist, does folky stuff as a solo act, and patrick, the producer, does some pretty great soundtrack-y sorts of things. as a duo, they work with electronic stuff and dubstep, but they keep both their solo elements in the work, and it’s wonderful.
when i met them, they were planning the ep release show. the way they did all this is really interesting - they hadn’t played a single show, and didn’t intend to until the release. they had been releasing tracks all year, and had kept their fans tantalisingly hooked with photos and things from film shoots, practices, et cetera. it seems to have worked really well for them, because they packed galatos basement when the release came around.
the ep opens with ‘not so frightening’, the intro to which sort of leads you into thinking it’s going to be sort of chamber folky. it’s soft and filled with piano, when all of a sudden the electronics come in and the dubstep influence is immediately apparent. the two hadn’t listened to dubstep before they started work on ophelia, and i love that, because it enables them to take the parts of the genre they like and will fit best for what they want to do. there are fantastic drops and some great tones, parts of it are really bassy, and most of all (in my opinion, at least) there are no screeching and whirring synth tones over the top, something that’s driven me away from a lot of dubstep over the years.
alex’s songwriting really comes into play as the ep progresses, because the two avoid the trope of using an overly-catchy and repetitive vocal sample as a chorus (and verse and bridge and on and on…) instead, it’s like she’s writing for one of her folk songs. all the tracks have narrative elements (i’m doing my absolute very best not to just rewrite the article here, trust me) and it’s a refreshing approach. very ellie goulding (a comparison the two are pleased with).
the night of the release was stellar. they had been preparing for months, getting lighting and an av system all sorted - and it was worth it, it really was. it made for an experience that will have left an impression (in fact, i heard people talking about the show literally the next day). randa opened for them - a good choice, i think, fitting in with the aesthetic of ophelia (‘the alternative to the norm’, in a way, perhaps. i don’t know, i’m very low on sleep).
in any case, it was a night to remember, and i’m so glad i got to go along. i know they’re planning (or at the very have hopes) to tour over the next year, so if you get a chance, do go check them out. and tell them i say hi.
The sun arose early that day, but did not burn scorchingly bright, instead dappling the land with soft and serene warmth. It was as if, along with nigh everything else, Apollo had heard Orpheus’ song, and was pleased.
FLEET FM has launched again!
And in two hours, my first show airs!
it’s ridiculous how so much of your future depends on how successful you are as a teenager
fun fact: not that much of your future depends on how successful you are as a teenager
i know people who change their career nearly annually. you’re not locked into anything ever. i know people who did terribly at high school who are now doing amazing things. people who were the top of their class at high school only to find their grade dropping at uni. people who did great at uni only to do not very much.
we’re told so much about our future careers in high school and how important it is to do well and put our heads down and focus on study and do little else, and sure, it helps - sometimes. but not always. and not doing so well as a teenager doesn’t mean you’re doomed as an adult.
i keep passing this article on to people, but it’s so relevant. i’ve had many discussions with the author (ex-teacher of mine, currently good friend of mine) and it’s amazing. he went back and talked to people in his year in high school, got their real stories (rather than the “it’s either FANTASTIC SUCCESS or UTTER FAILURE” careers departments feed us).
Even as blunt bullet-points on a flow chart, all the stories are interesting. After finishing high school, Hugo spent a year on student exchange in Bolivia. The experience made him politically conscious, and so he fell into a politics-heavy B.A. After finishing first in his class he took a mining job in Western Australia to pay off his loan. At some point in this process he decided he wanted to be a doctor, and when he returned to New Zealand he enrolled in medicine in Dunedin and began accruing more debt. The last time I saw him he was close to rounding out his twenties and planning to specialise in burns.
Alternatively there’s Murray. After dropping out of school at seventeen to work at McDonald’s, his parents forced him to repeat his final year at a boarding school in Otago. Upon its completion, he started a Bachelor of Commerce, then ditched it half way through his second year, choosing instead to work full time as a bartender at the bottom of the world. When he eventually moved back up to Auckland, sans degree and saddled with debt, his parents forced him to ‘get a real job.’ He applied for an entry-level position at an export company, got it, and has been there for the last eight years, moving quite quickly up the pay scale. At thirty he’s now married and more than financially stable and his work life frequently involves international travel.
Or how about this one: four years spent completing a BA/BSc, two years working at a joinery, two years tuning pianos, a year at jazz school, and now they tutor piano and make music. Or this one: three years as an apprentice panel beater; two years selling recreational drugs; three years very happily working in an office where they can wear a tie and feel respectable. They’re all fascinating.
Only two people on the list started on a path post high school and stuck to it: Dan, who started working at an auto parts store and has eventually risen to manage a branch, and Brian, who went straight into a course in graphic design, got a job and stuck with it. Two years ago he moved to Sydney to take a similar position.
things aren’t as bad or as daunting or as terrifying or stressful as you think they are or should be.
I had a workshop on Final Cut Pro today. I went along because I had had some issues with it in high school (I was used to the Adobe Suite and jumped into FCP trying to do stupidly advanced things). Unfortunately, the workshop was exceedingly basic, so I threw this together.
I do not claim it to be good. All it is is a clip of Sam playing a jazzy version of Farah Loux’s Flaws (original cover here) cut up a lot with some video effects. Towards the end it layers (I took a bit with mostly just bass notes and resonance for a recurring rhythm/bass section) and filters out. It was mostly a way to pass the time. But I like it.
if you’re linking to this or would like to comment/join the discussion, please do so here on my blog: http://bit.ly/SineadBlog
Sinéad O’Connor wrote a letter to Miley Cyrus, you can read it here: bit.ly/SOColMC
(or HERE on The Guardian if her site’s down from heavy traffic)
Rough bare bones demo of something very new. Possibly to be included in the Fringe show.
isolation, career choices, and passion: jaz paterson
i got a message on twitter a few days ago from a girl in geraldine, of all places, asking if i’d like to review her new ep. this sort of thing has been happening a bit more often recently, and it’s rather surreal. usually i’m wary of things like this, because i like how casual this blog is, and i’d much prefer to keep it that way, but i said i’d check it out.
the ep itself (which you can find here, by the way) if i’m totally honest didn’t strike me as stunning at first. i listened to it twice (it’s rather short) and did some reading of other reviews and interviews jaz has done and - like most albums tend to do, i think - it started to grow on me. i was able to recognise the sounds of and similarities to lisa crawley, anna coddington, and angus and julia stone that someone else had pointed out (the other person being greta of streets of colombo) and then i started to appreciate it of my own accord - realising that it is, in fact, a pretty damn solid pop folk release. jaz is a great lyricist and manages to capture something of that kiwi sound - an element i’m noticing in a lot of genres (the kiwi punk scene, for example, is astoundingly distinct in its sound). the music reminds me quite a bit of hera’s, and would fit in well with the likes of lisa crawley.
but the more interesting thing, i think, is the girl herself - i read a few articles and interviews and sent her some questions of my own. like a lot of people, she’s been writing since she was rather young (about 12, according to her). i think i’ll let her speak for herself here:
When I started writing, I was pretty bad! I remember my first few songs being about lego blocks, penguins, and hills. When I was about 13-14, I moved on to writing very morals-conscious cautionary tales with themes ranging from not dating bad boys to not drinking and driving. These days, I write about insecurities, friends, my future, faith, and love. I think something that definitely hasn’t changed is the fact that I love lyrics, and I tend to write too much! When I write a song, I’ll write about 50% more lyrics then I need to, and then I’ll have to cut out tons of them.
the excess thing is pretty interesting for me, because somehow, i’m always struggling for more words - i feel like i never have enough, that i always have more to say. in a similar sort of vein, my writing - of any sort - follows quite strictly from whatever i’m reading or otherwise consuming. not so for jaz. she has the eclectic music tastes of most musicians - haim, james blake, norah jones, michael jackson, burial - but very little of this makes its way into her music - at least, none of it is evident on the ep. you’d be hard pressed to listen to it and think “oh, yeah, i can definitely tell she listens to a lot of james blake”. i dunno, i found that pretty interesting.
the ep’s been a long while coming - she started recording at 15, which may actually have been detrimental, sort of just taking everything the producers suggested on board - not always a good thing.
I didn’t have super-strong ideas about exactly what I wanted my sound and my style to be. Whenever I had suggestions from a producer I’d be like “Yeah that sounds great!” or “Awesome” (even if it wasn’t), because I was too shy to say if I didn’t like their ideas.
i was mostly intrigued, though, by how it was to be a young musician in a place like geraldine. the community in auckland is as supportive as hell, and i can only presume it’s the same in places like wellington and christchurch. with something on every other night at the very least, there are always chances to meet up with people who play regularly and get your start. but i could see how being so isolated could be an advantage, too - i, for one, am forever enamoured by the idea of rushing off to some cabin in the middle of nowhere to finish a project or get everything sorted. sure, it’s not quite the same, but i think the principle applies.
it’s a bit of both for jaz. the distance to larger gigs and non-internet-based interviews is a bit troubling, and being cut off from other musicians her age can be difficult, but the major upside is having a smaller, strong and supportive community. she makes an interesting point here, one that i honestly hadn’t considered:
I think that possibly people from bigger cities miss out a bit on having a community, and there’s a lot more competition and talent, so it’s possibly a lot easier to get lost in the rush.
truthfully, this is intriguing, because i’m not so sure i’ve noticed that. sure, with so many gigs on and so many acts around there’s a lot more competition, but i don’t get the feeling that anyone is especially competitive (well, with a few notable examples, but those who do get nasty and competitive end up burning a lot of bridges, especially when they do so on social media…) in any case, i’d be interested in hearing back from jaz after she’s moved to christchurch (something she’s planning on next year) to see how she finds the difference.
anyway. the main things that drew me to actually writing all this is her location and isolation and the fact that she (who, by the way, is 18) went head-on into music right out of high school - a rather brave move, i think, in an industry like this at a time like this. average album sales in nz are something ridiculous like 50 copies, and even acts like tiny ruins aren’t living off their music (well, hollie of tiny ruins was just starting to last time we chatted). jaz is working part-time to keep herself going, and the response has been what you’d expect it to be - rather mixed, with some thinking she’s mad (the “get-a-job-ers”, i guess) with a lot of others being supportive.
it’s an important decision, i think, and it’s the kind of thing i’ve been thinking about a lot over the past year or so. finishing high school obviously brings up all the career questions, and i’ve talked to a lot of people about what they’re doing and plan to do, and probably even more people have talked to me and told me what i should be doing. i’ve talked to alec a lot about careers (not necessarily my plans at all, but rather approaching the idea of career planning in high school) and he ended up writing this (which, oh boy, is really worth a read).
i’m going to revert to my default opinion, which seems both extremely obvious but also a cop-out: you should do what you want. make your own decisions. they’re yours to make.
but. if i’m honest (which i’m finding myself doing more often) i find myself confused at people taking degrees and papers because they’ll get them better/higher paying jobs and dropping or not taking other papers that they love and are passionate about. i understand the reasoning and rationality behind it, but i don’t think i could ever do that at all.
anyway. i’m not fond of preaching. jaz paterson is doing what she’s passionate about, and that is extremely commendable. i sincerely wish her the best, and i think i’ll be following her career (perhaps not so closely, but checking up every now and then out of interest).
i hope you all have a wonderful week.
ps: there may be another post like this coming up soon. it depends whether or not inspiration strikes.
pps: dunedin fringe plans are moving along quickly. if you are a performer or actor or artist who is interested in taking part in what will probably be a bizarre cross between a play, performance art, and a gig, get in touch.
Friends in Dunedin!
Applications are open for the Dunedin Fringe Festival, and I’m considering doing something for it, seeing as it’s an open-entry festival.
Plans so far are in extremely early stages, but I have a few ideas as to what the show will be.
The question is - is anyone keen to help out, on any level? Particularly during the planning stages, but I’ll probably end up looking for performers etc, too (details to come).
Also considering taking any potential show to the other NZ Fringe Fests (Auckland is every other year, but Wellington is definitely an option).
Q:are you paid for your work?
Nope, not paid for any of my writing gigs or anything. Writing for NZM etc is done because I really love doing it (and the physical publishing and distribution is quite the plus). Same with radio stuff.