Fancy New NobbinBlog: https://nobbinmaug.medium.com/?source=post_page-----4c9e5d218af8--------------------------------

NobbinBlog: https://nobbinblog.wordpress.com/

https://nobbinmaug.medium.com/friday-fictioneers-an-exercise-in-opulence-e9a6eeb68c6f

https://nobbinblog.wordpress.com/2023/09/13/friday-fictioneers-an-exercise-in-opulence/

This was written for Friday Fictioneers, hosted by Rochelle Wisoff-Fields (https://rochellewisoff.com/) on WordPress. 

The image was contributed by Sandra Crook (https://castelsarrasin.wordpress.com/)

Soundclips:

~Posh dinner party (https://pixabay.com/sound-effects/posh-dinner-partywav-14425/) courtesy of Pixabay (https://pixabay.com/)

An Exercise In Opulence

On Today’s Menu on Marsha’s Plate
This is us revisiting the topic of classism inspire by last week's discussion of Sexxxy Red and Sukihana
Trans 101: Classism

Listen on all streaming Platforms 
https://pod.link/1293033444


We have merch as well if you wanna support Marsha’s Plate
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Accountability is an ongoing process and allyship has to be renewed every day through actions and support

We run off of donations to keep this programming accessible so monetary donations are so helpful BUT 
Ways to support that don’t cost money is to share comment and subscribe 
#marshasplate #girlslikeus #boyslikeus #transgender #podcast #blacktranslivesmatter #podsincolor #podernfamily #transpodcast
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Trans 101 from Havard
http://sitn.hms.harvard.edu/flash/2016/gender-lines-science-transgender-identity/

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https://open.spotify.com/show/4Iv5ymzrIouiCGHsOBNB47
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#281 Class Reprise

18世紀風のシンフォニアです。
シンフォニアとはオペラの序曲が独立し、交響曲の前身になった器楽曲です。

マンハイム楽派をイメージして作りましたが、サリエリや初期のモーツァルトに寄ってしまいました。

Symphonia im Stil des 18. Jh.

Prohibited - White Vinegar

Please Get Me Out Of Here - White Vinegar

Hey It's D - White Vinegar

Someone So Broken-A Way Out - White Vinegar

You'll Do - White Vinegar

A Prayer To Grandma - White Vinegar

Lost Another Job - White Vinegar

How did we become disenfranchised from our voices? Why do so many of us stop singing and lose trust with our voices? 

This first episode breaks down how colonial narratives of the sex/gender binary, as well as Eurocentric vocal practices, tarnish many people’s relationship to their voice. The podcast focuses on how queer people, especially trans and gender non-conforming folks, are disproportionately excluded from the rigidity of many vocal spaces. Through interviews, soundscapes and meditations, this episode offers routes to decolonising the voice outside of whiteness, elitism and ableism in order to find more embodied states of being.

Presented and produced by margomool | https://www.instagram.com/margomool/ | https://margomool.mailchimpsites.com/
Recorded by margomool and Yuki Nakamaya | https://www.instagram.com/shinjuku.enby/ 
Featuring ellc | https://www.instagram.com/ellcsings/ | ILĀ | https://www.hausofila.com | https://www.instagram.com/hausofila/ | 
Stephen Davidson | https://londontranschoir.com/author/impromiscuous/ | https://www.instagram.com/stephendavidson84/ 
Sound design & mixing by Axel Kacoutié | https://www.instagram.com/axelkacoutie/ | https://axelkacoutie.com/ 
Supported by QUEERCIRCLE | https://www.instagram.com/queercircle/ | https://queercircle.org/whats-on/

BIBLIOGRAPHY
Dorcas Olowoyo - Voices Unheard: An Authoethnographic Study of the Contralto, Black British Voice
Anne Carson - The Gender of Sound
Stephen Davidson - The Transmasculine Voice: A Guide to Vocal Euphoria
bell hooks - The Will to Change: Men, Masculinity & Love
A L. Jones - ‘Singing High: Black Countertenors and Gendered Sound in Gospel Performance
Nina Sun Eidsheim - Race of Sound, Listening, Timbre, and Vocality in African American Musi
‘UN experts warn of legal uncertainty and rights implications following UK Supreme Court Ruling’
‘Ban on puberty blockers to be made indefinite on experts’ advice’
Trans Actual, Trans Lives Survey 2021
‘Welfare cuts: What are the Pip and Universal Credit changes?’

TRACK LIST
Various recordings from the Queering The Voice course & Trans Chorus workshops at QUEERCIRCLE, 2025
Schumann, De meine Sele, du mein Herz, performed by Helen Walpole
ellc - Key to Your Heart 
TRANS VOICES, ILĀ & Coda Nicolaeff - UN-BOUND

Episode 1: Vocal Disembodiment

A Black Trans Podcast. #MarshasPlate is a lively podcast. Hosted by Diamond Stylz, Bre Starr, and LJ. We explore topics of gender, current events, politics, and scumbags all around the world upholding systems of oppression from a black trans feminist lens.  With our funny no-holds-barred style we introduce you to new perspectives, stories that connect you to transness, and trans community leaders around the country. We aim to provoke thought, inspire change, and pave the way for a more inclusive and equitable society.

QUEERCIRCLE is a LGBTQ+ led charity working at the intersection of arts, health and social action.

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

New tracks tagged #classism