Check out all these awesomely beautiful songs by Mickey and Sylvia!
I’m So Glad
https://www.youtube.com/watch?v=tMf30eoU22c
Se De Boom Run Dun
https://www.youtube.com/watch?v=K0frF4kPQIE
Forever and a Day
https://www.youtube.com/watch?v=9vH1aC-Qh4I
Rise Sally Rise
https://www.youtube.com/watch?v=iVkZBBgbaXw
Love Is Strange
https://www.youtube.com/watch?v=35eBlOs6DOQ
I’m Going Home
https://www.youtube.com/watch?v=Uk6jE514gOU
There Oughta Be a Law
https://www.youtube.com/watch?v=yycfhrcuULA
Dearest
https://www.youtube.com/watch?v=M4bq9LneZ9s
Love Will Make You Fail in School
https://www.youtube.com/watch?v=JcwK3WoFY1g
Let’s Have A Picnic
https://www.youtube.com/watch?v=rIop-8SeG3I
There’ll Be No Backin’ Out
https://www.youtube.com/watch?v=gXxaL_EPauI
Peace Of Mind
https://www.youtube.com/watch?v=WlMFX5qlEek
Who Knows Why
https://www.youtube.com/watch?v=erx4cSwIVZU
Say The Word
https://www.youtube.com/watch?v=zFvsbYDa9tY
Too Much Weight
https://www.youtube.com/watch?v=u4veTz_FSwA
A New Idea on Love
https://www.youtube.com/watch?v=9M8KE9xX9fE
I’ve Got a Feeling (In My Heart)
https://www.youtube.com/watch?v=cZPDEnPccKg
Can’t Get You On The Phone
https://www.youtube.com/watch?v=ySM2cdPoBys
Oh Yeah! Uh Huh
https://www.youtube.com/watch?v=GjKJ9EancJk
What Would I Do
https://www.youtube.com/watch?v=W9Kqhd0Ze54
Film of PRINCE at age 11 Discovered at Archival Footage of 1970 Minneapolis Teachers Strike
https://www.youtube.com/watch?v=Ik8Np8Jt8gY
Here’s a 17 minute analysis of “Blister in the Sun” by the Violent Femmes
https://www.youtube.com/watch?v=qDpcVKtxB4g
https://www.youtube.com/watch?v=JE-dqW4uBEE
Before the Eagles were the Eagles, they were Linda Ronstadt’s backup band. Here they are performing Desperado.
https://www.youtube.com/watch?v=vDB6qQmDi9Y
The English Touring Opera has just fired 14 of its musicians because they are white
The sacking of white members of the English Touring Opera shows how woke will destroy the arts
I for one would never go to watch an orchestra just because it had been lauded for diversity
By Zoe Strimpel
September 19, 2021
As a child and teenager in Boston, USA, I played in various orchestras. I didn’t much like it, largely because I found it boring, thankless and tiring. Rehearsals were long. Sometimes I didn’t like the music that had been selected: why had the conductor chosen another obscure piece by César Franck? But one thing that I had the luxury of never having to worry about was the ethnic makeup of the players and my own fate auditioning as a young white girl. As it happened, in the youth orchestra scene back then, the top symphonies and seats were dominated by children whose parents were Russian or Chinese. This was not a source of much comment; it’s just how it was.
Since then, we have sunk into such a quagmire of identity politics that even orchestras are now selecting players not because they are the best, but because of their skin colour. The English Touring Opera (ETO) has dropped 14 white musicians in order to increase the ‘diversity’ of the company. Aged between 40 and 60, they’ve been told their contracts will not be renewed because of ‘diversity guidance’ from Arts Council England, which gives the ETO £1.78 million a year.
Arts Council England, one of the most woke funding bodies in the land, protested lamely, arguing that it never meant to get players sacked. “We are now in conversation with ETO to ensure no funding criteria have been breached,” it said. Err. Perhaps this has been a valuable wake-up call for the Arts Council: what did it expect? If you insist on exporting the warped logic of critical race theory, pressuring arts organisations to prioritise skin colour over all else, you can hardly be surprised when they respond like this. If the ETO’s policy of race-based contract non-renewal smacks of the kinds of policies my own grandparents faced in post-Nuremberg Laws Germany, then that is entirely the fault of the institutional bigwigs slurping away at the woke Kool-Aid.
The hideous optics of the ETO debacle offer a particularly stark reminder of how in the era of wokedom, the arts are doomed. Sure, the arts have a social component, but they are fundamentally rooted in creativity and talent, and they must delight, rivet or intrigue. They are not meant to be primarily didactic. I for one would never go to watch an orchestra just because it had been lauded for diversity. I would never read a book because it had been commissioned as part of a ‘diversity and inclusion programme’ and I would never admire a work of art simply because it had emerged from a person of the right colour. Yet such ideas are gaining popularity: earlier this summer, Labour MP Janet Daby, a former shadow minister for faiths, women and equalities, put to then-Culture Secretary Oliver Dowden the merits of issuing “mandatory diversity quotas” for artists that appear in publicly funded galleries like Tate Britain. Thankfully, that quota hasn’t yet been mandated, but under a different government it might well be.
If the ETO rejig seems particularly shocking, the arts have in fact been at it for ages. Back in 2018, Penguin Random House sent a stern email round to agents and employees: the new commissioning policy would have to fall into line with diversity targets, with diversity defined by sexual identity, skin colour and whether one was able-bodied or not. The “company-wide goal” was “for both our new hires and the authors we acquire to reflect UK society by 2025”. Aside from the utter madness of assuming that the percentage of people able to write excellent books should map onto the demographic makeup of British society, this dictum showed that from now on, the narrowest, most box-ticking form of ‘diversity’ – what you are rather than who you are – would determine Penguin’s contribution to literature.
The sprawling diversity and inclusion drives our funding bodies, arts organisations and publishers, who have fallen over themselves to instigate from part of a broader domain of deranged and misapplied moral virtue. One aspect of this became particularly apparent during #MeToo, when man after man found to have a polluted past was chopped from ballet companies, films and comedy careers. I can see why men who sexually molest women might be kicked out of offices. But films? Ballet shows?
A couple of years ago I did a debate at the Oxford Union, arguing that art should not be judged by the biography of the artist, because on that score, there would be no art at all from any time before about five minutes ago. But also because it’s simply wrong: it flattens creative work, with all its many and unpredictable interpretations, into something chilly, Manichean and moralistic.
We won the debate, but only just: there were many who were adamant that art was indistinguishable from the moral virtue of its creator. For today’s arts institutions, virtue and the skin colour of artists have become one and the same thing. Not only is this an immoral equation, as the ETO clearout showed with crystal clarity, but it’s a death knell for the very notion of artistic quality.
FSO – Star Wars Episode IV – “Here they come!” (John Williams)
https://www.youtube.com/watch?v=TJaz5XhSjwc
John Williams & Wiener Philharmoniker – “Main Title” from “Star Wars: A New Hope”
https://www.youtube.com/watch?v=54hoKbTWon4
WASTED ON THE WAY – CROSBY, STILLS, AND NASH (Kudyapi Band Social Distancing Cover)
https://www.youtube.com/watch?v=ovoXNhuds7s
Billy Howse and his friend perform “Abracadabra” by the Steve Miller Band
https://www.youtube.com/watch?v=D0GtJl2rDiI
Colt Clark and the Quarantine Kids play “Fortunate Son” by Creedence Clearwater Revival
https://www.youtube.com/watch?v=6MQ10Dq410I
Colt Clark and the Quarantine Kids play “Won’t Get Fooled Again” by the Who
https://www.youtube.com/watch?v=7evJQKNKUBw
Colt Clark and the Quarantine Kids play a Rolling Stones Mini-Concert
https://www.youtube.com/watch?v=nlAAx3f6WKM
Colt Clark and the Quarantine Kids play “Hurts So Good” by John Mellencamp
https://www.youtube.com/watch?v=GFeWJ-SMWWM
Glenn Case covers “Your Imagination” by Daryl Hall and John Oates
https://www.youtube.com/watch?v=vn9RSyDzyHQ
Travis Bigwood, Aubrey Mullins, and Skylan Bracey cover Jackson Browne’s “Somebody’s Baby”
https://www.youtube.com/watch?v=lBvtiRHz_VU
Rick Beato says “Never Gonna Let You Go” by Sérgio Mendes is “The Most COMPLEX Pop Song of All Time”
https://www.youtube.com/watch?v=ZnRxTW8GxT8
https://www.youtube.com/watch?v=GQ_NAXaiI2Q
YouTuber Media Bear: “I Wear My Face Mask in the Car” (parody of “I Wear My Sunglasses at Night”)
I did not create this video. I’m just posting it here so people will see it.
If you want to see something that I did create, I recommend this: Here are 100 reasons why I’m against the COVID-19 lockdowns
https://www.youtube.com/watch?v=2DDXG-dHugc
And for those of you who may to too young to know the original by Corey Hart, which the above parody is based on, here it is:
https://www.youtube.com/watch?v=X2LTL8KgKv8
YouTuber P Palm: Covid 19 Parody of Steely Dan — Hey Nineteen
https://www.youtube.com/watch?v=MkZj7olsA-M
My newest meme is a picture of Roger Daltrey and Pete Townshend. The caption says, “I hope I get old before I die.” Please feel free to share it.
Click here to see a bigger version: https://imgflip.com/i/428gfi
YouTuber InVoca / by Raúl Irabién: Coronavirus Rhapsody (based on Bohemian Rhapsody) – Covid19
InVoca / by Raúl Irabién
CORONAVIRUS RHAPSODY
Vocals: Raúl Irabién
Lyrics: Dana Jay Bein (@danajaybein)
Video post production: Daniel Reyes (@danielreyesmx)
Audio master: Armando Olabuenaga
Based on original song “Bohemian Rhapsody” by Freddy Mercury and Queen
https://www.youtube.com/watch?v=9Eo9M4-BrJA