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The biggest of bops
I Wish You Liked Girls (2017) by Abbey Glover
You guys make me feel so incredibly loved. Thank you for this year. I’m so excited for what’s to come 💜
I am not a model but ask me anything. (I am a dork.)
Told Ya So (2015) by Adult Mom
Our song is less than 100 streams away from getting to 1k! If you want to help us out (or listen to some positive banjo based music by two nonbinary queer musicians) click on this ♥
also each account’s listens gets counted up to 5 times a day just something to think about
Hey guys, I used to be a lot more consistent with sharing my art on here, and I want to get back to that same openness. Today I’d like to share my original holiday tune. I wanted to create something that captured the seasonal feeling without the typical cliche of christmas music. If you enjoy this, please reblog and share with your friends. As an independent queer artist, I appreciate any and all support.
CHIKA released a new song and music video today and it is amazing!!
It’s a bop. It’s queer. It’s an homage to A Different World.
And it’s Chika!!
If you don’t know her shit, get to know it! It’s all fucking fantastic!
Pls watch the video and all her other shit. Thx
Rina Sawayama just introduced my jaw to the floor with that song&video
I no longer remember exactly how old I was, but I think it must have been pre-high school; I’m guessing 7th grade. The nun who taught music at our school also played viola in the town orchestra, so a friend and I went to one of their concerts. I don’t think it was the first time we’d done this together. The first work on the program that night was called “An Outdoor Overture” by a composer named Aaron Copland. I had never heard of him, but his ten-minute work for orchestra was the highlight of the evening for me. I like its melodies, I like its brash harmonies, in short, just about everything about this work struck me a terrific. My friend, as I recall, was not as enthusiastic. He was, at that time, more familiar with classical music, and had already absorbed the judgmental tone of the connoisseur, and Copland’s brashness was not a positive thing in his opinion. “Besides,” he insisted, “Don’t you know he’s Jewish?”
I didn’t understand how Copland’s religion meant anything in terms of the quality of his music, but over the years, his Jewishness would come up periodically from people who seemed intent on trying to put him in his place. Even as he was be hailed as the “Dean of American Music,” and honored with prizes and awards, there was always someone intent on diminishing him because he was Jewish. The most alarming of these came from Copland’s so-called friend Virgil Thomson, who seemed to deeply resent that this Jewish boy from Brooklyn was somehow able to write music that sounded more “American” to people than Thomson’s own music, steeped in his own childhood of listening to Protestant hymns in Missouri. Some of Thomson’s assessments of Copland’s works seem to hover just below the level of actually blaming his Jewishness for the “weakness” of his scores.
I was in my late 20s before anyone brought up Copland being gay to me. I was abashed. Yes, I knew a number of composers were queer, but I wasn’t expecting the Dean of American Composers to be gay. One of the more amusing accounts of that came from “tell-it-all” Ned Rorem, whose published journals included a lot of his accounts of sex with various musicians. In response to the idea that Copland had favored other gay composers, Rorem shot back a list of names of composers Copland had put forward. They were mostly Jewish, and not all of them were gay, and Rorem noted that Copland never did a thing to assist his career.
I have offered opinions before about the effect of Copland’s music on me. After that first encounter, I set out to acquire a recording of An Outdoor Overture. There was only one available at the time, conducted by Maurice Abravanel, and the record also included Lincoln Portrait, the suite from Our Town, and a work called Quiet City, for English horn, trumpet, and string orchestra. I can’t begin to say how many times I listened to Quiet City, over and over and over again. I would listen to it at night before going to sleep. I learned later that Copland was fond of being with people, and would go out in the evenings to parties, then returning to his loft, where he would stay up late, writing music in the hours after midnight, when New York was quiet, and the streets deserted. There is something about solitude and loneliness in the this ten-minute piece that spoke very powerfully to me.
Music helps to shape our inner subjectivity like few other things. Music allows us to feel like what we feel like living in our bodies. As a 13-year-old boy, living in the Midwest, 50 miles West of Chicago, who was feeling an inexplicable attraction to other boys, there was something in Copland’s work that helped me understand who I was.
1. My pronouns are they/them
2. Having/wanting to have a vulva doesn’t necessarily mean one is a woman
3. Not having/wanting to have a penis doesn’t necessarily mean one isn’t a man
4. There’s a multitude of genders, including but not limited to Nonbinary, Two-Spirit, Agender, Intersex, etc.
5. One’s gender may be static
6. One’s gender may be fluid
7. Wearing ‘female’ clothing doesn’t necessarily mean you are one
8. Not wearing 'male’ clothing doesn’t necessarily mean you aren’t one
9. Makeup and any other inanimate objects have no gender
10. One’s gender doesn’t predict sexual attraction
11. One’s sexual attraction doesn’t predict gender
12. Same for romantic attraction
13. One’s gender doesn’t make one a good person or an authority. Power does, pay attention when using yours
Kazaky (ft. Gaspar) - “Push”
Dorian Electra - “Adam & Steve”