New York Music Daily

Love's the Only Engine of Survival

News for the End of the Month: Some Sobering, Some Optimistic

In a grisly development that’s been unfolding over the past several months – guess why – funeral director Richard Hirschman appeared on the Dr. Jane Ruby Show a couple days ago to explain the strange white fibrous material he and his colleagues have recently been finding in corpses during the embalming process. Asked if he’d saved any of it for lab analysis, Hirschman replied that he only had samples from one body because fifty to eighty percent of the cadavers he’s seen since this past summer all have the strange clotlike strands. Grossout alert: the images of dead bodies in the video link above are brief and respectful, but the stuff that Hirschman and others in his field have been pulling out of veins and arteries is not easy to look at. Thanks to Mark Crispin Miller for passing this along. 

Dr. Robert Malone, who appeared on the Rogan podcast about mass formation psychosis that “broke the internet,” for search terms at least, has been hailed as a hero. The mainstream narrative is that the inventor of mRNA vaccine technology came over from the dark side to fight lockdowns and join forces against the kill shot. Not so fast. As you can see from this video, Malone has not exactly cut ties with the dark side. In a pitch meeting for the Relcovax genetic modification shot, Malone asserts that his latest project aims for an adverse effects rate of one in a thousand. You read that right: one in a thousand. Big names like Del Bigtree and Dr. Peter McCullough, who have championed him recently, may have some tough questions for him.

The Defender reports that Pfizer’s latest attempt to delay the release of the documents submitted for FDA approval in 2020 involves invoking the Trade Secrets Act as a latest excuse to evade full disclosure. Maybe this is pure coincidence, but Pfizer is being represented in court by the international law firm DLA Piper. Douglas Emhoff, who is married to Kamala Harris, was a partner in the firm until a little over a year ago.

Let’s end this with some good news. New Hampshire state representative Leah Cushman has introduced House Bill 1022, which would make ivermectin available over the counter. It’s a savvy business move for the ruggedly mountainous little New England state, whose economy relies heavily on tourism and is still recovering from 2020.

This Is the Real New York

Who can forget their first visit to the American Museum of Natural History? It’s probably safe to say that pretty much every New Yorker has been there at least once. This blog’s owner made the first of many trips there at age four. Looking up at t-rex – and the lifesize blue whale model, and then getting to see australopithecus, and cro-magnon man, and the other exhibits – was a thrill.

But these days it seems like it’s cro-magnon man who’s running the show there. Watch these heroic freedom fighters in action as they try to get into the museum without muzzles, vaxxports or other proof of taking a lethal injection. It appears that everyone in the crowd has already paid museum admission.

There’s no violence, although you can watch the woman who appears to be the head guard racing and yelling at the other guards to “Close the doors!” For whatever reason, beyond the muzzled middle-age man who seems to be in charge, the museum staff summoned to get rid of the unmuzzled patrons won’t engage in any kind of dialogue (fast forward to the five minute mark for some very powerful footage).

There’s an equally telling exchange starting at 6:58 where a woman in a wheelchair explains to the guy who seems to be in charge that being unmuzzled and not taking the kill shot is simply her way (and the majority of New Yorkers’ way) of staying safe. He seems to sympathize. “I hope we. say, next week, throw the masks away.”

Is he just blowing smoke? It’s hard to read his body language, considering that you can’t see most of his face. He sounds sincere, or at least fed up with totalitarian restrictions. Is there any hope that life at the museum will return to normal, and a whole new generation of kids can discover t-rex, and the whale, just for starters?

What we have to keep in mind is that the museum was weaponized as a lethal injection site very early on, possibly as early as December of 2020. For surviving people in the neighborhood, this building is going to have the same kind of resonance as the churches and schools used for torture during Argentina’s “dirty war” in the 1970s. Assuming that the place actually reopens without restrictions, you’ll be walking under the whale and thinking, “myocarditis.” Or worse.

Why has the museum signed on to that agenda? The AMNH has a long relationship with the Gates Foundation that goes back years. Even worse, the AMNH is a partner of Peter Daszak’s Eco-Health Alliance, who funneled Fauci money to the Wuhan lab where Covid was manufactured.

The takeaway here is that the AMNH insiders are up to their eyeballs in the global totalitarian agenda. So until muzzles, and mandatory testing, and vaxxports are banned in New York State – which they assuredly will be, Kathy Hochul be damned – we can forget about paying our respects to t-rex.

Let’s just hope that until then, t-rex stays where he is, and that some hedge fund crook doesn’t decide that a big scary fossil would look good as decor in a mansion on some private island.

A State-of-the-Art, Majestic Big Band Suite From the Winnipeg Jazz Orchestra

The world is in a very strange place right now, and some of the least likely candidates are doing herculean work just about everywhere you turn. So anyone who might be surprised that some of this era’s most sweeping, majestic big band jazz would be coming out of Manitoba hasn’t heard the Winnipeg Jazz Orchestra album Twisting Ways, streaming at Bandcamp. It’s more symphonic than solo-centric, comprising a couple of suites and a lyrical vehicle for tenor sax.

Pianist David Braid and composer Philippe Côté utilize texts by Lee Tsang in the shapeshifting series of themes in the album’s title suite: the group doesn’t linger long on any of them. Singer Sarah Slean traces a spiritually-inspired narrative about a mythical nightingale and an unseen hand (no, not the one that Adam Smith imagined).

Part one, The Hand follows a big, upward symphonic trajectory. “Has darkness transformed my life?” Slean asks over Braid’s uneasy piano glimmer. The nightingale ponders her “need to succeed” as the enveloping resonance rises behind her. Drummer Eric Platz rings his cymbal bells while bass trombonist D’Arcy McLean pushes the rest of the brass to dig in.

A triumphant flourish signals a pensive Braid piano break. Slean’s nightingale ponders defeat and seeks redemption while he textures fill the space from top to bottom, Braid cutting through tersely. A big swell introduces vibraphonist Stefan Bauer’s eerie cascades; the group take it out with a slow, steady lustre.

A suspensefully dramatic drum break kicks off the brief second segment, a series of emphatic, riffmic (how’s that for a new jazzapeak term?) exchanges between piano and the orchestra, building triumphantly through echo effects to a momentary calm. From there, Braid moves from insistence to spacious lyricism in the solo piano interlude Opening Glimmers

A blustery swing ensues in the epic conclusion, Hope Shadow, colorful motives bouncing from one section of the ensemble to the next, Mozart-style. The group reprise the ominous vibes theme from the opening movement, Braid taking over with a glimmer that stretches from a distant menace to find familiar comfort amid towering brass harmonies. Slean’s nightingale lands home triumphantly: “It shines, softly; it shines, oddly,” but – it shines.

Karly Epp takes over the mic the rest of the way through. She soon finds herself “drifting through clear ether” in Lydian Sky, a vast northern plains tableau, the enveloping lustre of the group serving as a launching pad for an unhurried, rising and falling Mike Morley tenor sax solo. The final number is Côté’s Fleur Variation, Epp’s crystalline vocalese serving as a foil to Bauer’s phantasmagorical vibes as the group gather steam, through robust, staggered, brassy counterpoint, a tantalizingly chromatic solo from bassist Karl Kohut up to a misty, oceanic swirl worthy of Debussy.

This is one of the most ambitiously memorable big band albums in recent months, a triumph of inspired playing by a group that also includes saxophonists Neil Watson, Sean Irvine. Shannon Kristjanson, Jon Stevens, Paul Balcain. Lauren Teterenko and Ken Gold; trumpeters Jeff Johnson, Shane Hicks, Richard Boughton, Richard Gillis and Andrew Littleford; trombonists Joel Green, Jeff Presslaff, Keith Dyrda and Francois Godere.