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How can one tell when men have well and truly infiltrated 3rd wave feminism? When you invite a dude to speak at your Woman’s March who is advocate for the sex industry while concomitantly blocking feminists who are fighting for female liberation. I can fucking smell the inclusivity a mile away, can’t you? Funny how inclusive only works if you bend a knee to the males in charge. Perhaps this is ‘exclusive inclusivity’ who knows – we should look to a male for guidance in with these trying feminist issues…
How about no?
Let’s look to a feminist who is at the forefront of female liberation in Canada, Meghan Murphy:
More on the Vancouver ‘Women’s March’ –
And so we march on, indeed.
Oh, and if you are indeed a member of the oppressed female sex class, the Vancouver Women’s March will block you from commenting. Not that mere blocking can stop the female fight for liberation from patriarchy. See the twitter thread here.
Thread highlights :
Watch female erasure in action. :/
The definition of religious insanity.
Just saw the upcoming repertoire for next semester. Can’t wait to sing this one. :)
Josef Gabriel Rheinberger, whose father was the treasurer for Aloys II, Prince of Liechtenstein, showed exceptional musical talent at an early age. When only seven years old, he was already serving as organist of the Vaduz parish church, and his first composition was performed the following year. In 1849, he studied with composer Philipp M. Schmutzer (31 December 1821 – 17 November 1898) in Feldkirch, Vorarlberg.[1]
In 1851, his father, who had initially opposed his son’s desire to embark on the life of a professional musician, relented and allowed him to enter the Munich Conservatorium. Not long after graduating, he became professor of piano and of composition at the same institution. When this first version of the Munich Conservatorium was dissolved, he was appointed répétiteur at the Court Theatre, from which he resigned in 1867.[2]
Josef and Fanny shortly after their marriage
Rheinberger married his former pupil, the poet and socialite Franziska “Fanny” von Hoffnaass (eight years his senior) in 1867. The couple remained childless, but the marriage was happy. Franziska wrote the texts for much of her husband’s vocal work.
The stylistic influences on Rheinberger ranged from contemporaries such as Brahms to composers from earlier times, such as Mendelssohn, Schumann, Schubert and, above all, Bach. He was also an enthusiast for painting and literature (especially English and German).
In 1877 he was appointed court conductor, responsible for the music in the royal chapel. He was subsequently awarded an honorary doctorate by Ludwig Maximilian University of Munich. A distinguished teacher, he numbered many Americans among his pupils, including Horatio Parker, William Berwald, George Whitefield Chadwick, Bruno Klein and Henry Holden Huss. Other students of his included important figures from Europe: Italian composer Ermanno Wolf-Ferrari, and German composers Engelbert Humperdinck and Richard Strauss and the conductor (and composer) Wilhelm Furtwängler. See: List of music students by teacher: R to S#Josef Rheinberger. When the second (and present) Munich Conservatorium was founded, Rheinberger was appointed Royal Professor of organ and composition, a post he held for the rest of his life.
On 31 December 1892 his wife died, after suffering a long illness. Two years later, poor health led him to give up the post of Court Music Director.[3]
Rheinberger in his later years
Rheinberger was a prolific composer. His religious works include twelve Masses (one for double chorus, three for four voices a cappella, three for women’s voices and organ, two for men’s voices and one with orchestra), a Requiem and a Stabat Mater. His other works include several operas, symphonies,[4] chamber music, and choral works.
he following translation by Edward Caswall is not literal, and represents the trochaic tetrameter rhyme scheme, and sense of the original text.
Stabat mater dolorósa
juxta Crucem lacrimósa,
dum pendébat Fílius.
Cuius ánimam geméntem,
contristátam et doléntem
pertransívit gládius.
O quam tristis et afflícta
fuit illa benedícta,
mater Unigéniti!
Quae mœrébat et dolébat,
pia Mater, dum vidébat
nati pœnas ínclyti.
Quis est homo qui non fleret,
matrem Christi si vidéret
in tanto supplício?
Quis non posset contristári
Christi Matrem contemplári
doléntem cum Fílio?
Pro peccátis suæ gentis
vidit Iésum in torméntis,
et flagéllis súbditum.
Vidit suum dulcem Natum
moriéndo desolátum,
dum emísit spíritum.
Eia, Mater, fons amóris
me sentíre vim dolóris
fac, ut tecum lúgeam.
Fac, ut árdeat cor meum
in amándo Christum Deum
ut sibi compláceam.
Sancta Mater, istud agas,
crucifíxi fige plagas
cordi meo válide.
Tui Nati vulneráti,
tam dignáti pro me pati,
pœnas mecum dívide.
Fac me tecum pie flere,
crucifíxo condolére,
donec ego víxero.
Juxta Crucem tecum stare,
et me tibi sociáre
in planctu desídero.
Virgo vírginum præclára,
mihi iam non sis amára,
fac me tecum plángere.
Fac, ut portem Christi mortem,
passiónis fac consórtem,
et plagas recólere.
Fac me plagis vulnerári,
fac me Cruce inebriári,
et cruóre Fílii.
Flammis ne urar succénsus,
per te, Virgo, sim defénsus
in die iudícii.
Christe, cum sit hinc exíre,
da per Matrem me veníre
ad palmam victóriæ.
Quando corpus moriétur,
fac, ut ánimæ donétur
paradísi glória.
Amen.
At the Cross her station keeping,
stood the mournful Mother weeping,
close to her Son to the last.
Through her heart, His sorrow sharing,
all His bitter anguish bearing,
now at length the sword has passed.
O how sad and sore distressed
was that Mother, highly blest,
of the sole-begotten One.
Christ above in torment hangs,
she beneath beholds the pangs
of her dying glorious Son.
Is there one who would not weep,
whelmed in miseries so deep,
Christ’s dear Mother to behold?
Can the human heart refrain
from partaking in her pain,
in that Mother’s pain untold?
For the sins of His own nation,
She saw Jesus wracked with torment,
All with scourges rent:
She beheld her tender Child,
Saw Him hang in desolation,
Till His spirit forth He sent.
O thou Mother! fount of love!
Touch my spirit from above,
make my heart with thine accord:
Make me feel as thou hast felt;
make my soul to glow and melt
with the love of Christ my Lord.
Holy Mother! pierce me through,
in my heart each wound renew
of my Savior crucified:
Let me share with thee His pain,
who for all my sins was slain,
who for me in torments died.
Let me mingle tears with thee,
mourning Him who mourned for me,
all the days that I may live:
By the Cross with thee to stay,
there with thee to weep and pray,
is all I ask of thee to give.
Virgin of all virgins blest!,
Listen to my fond request:
let me share thy grief divine;
Let me, to my latest breath,
in my body bear the death
of that dying Son of thine.
Wounded with His every wound,
steep my soul till it hath swooned,
in His very Blood away;
Be to me, O Virgin, nigh,
lest in flames I burn and die,
in His awful Judgment Day.
Christ, when Thou shalt call me hence,
be Thy Mother my defense,
be Thy Cross my victory;
While my body here decays,
may my soul Thy goodness praise,
Safe in Paradise with Thee.
– Translation by Edward Caswall, Lyra Catholica (1849)
I’ve done this to several men, and they catch on rather quickly. You’ll be able to have a conversation right then and there, and it works long term too – they might’ve forgot their manners by the time you talk to them again, but by repeating this, they’ll eventually learn to let you talk without you having to do this at the start of every convo. Source: I have a very stubborn older brother, who eventually learned too.
1. When they interrupt you, stop talking. Don’t try to raise your voice or battle them. Be completely quiet and wait.
2. Ignore everything they’re saying. Do not actually listen – just wait until they shut up. Don’t make a point of anything they say, do not answer to anything they say, do not refer to anything they say here. Literally do not listen a single word. Let them rant as long as they want.
3. When they finally shut up and wait for your reaction, say: ”I wasn’t done talking.”
4. Start over whatever you were saying when they interrupted you. I don’t care if it was a 10-minute explanation of rocket science. Start. Over. Repeat you original thought, but do not add anything related to what they just said while talking over you. That gives them the idea that it’s okay to interrupt you, you’ll still listen and pay attention and they’ll get their point clear without having to listen to yours. (It’s especially funny when you get done and they expect you to keep going talking about whatever they talked over you. The face when it sinks in that you didn’t listen a single word is glorious.)
5. If they interrupt you again, return to step 1. If you find yourself repeating the cycle over 3 times, tell them: ”you’re not letting me speak. Either you listen and wait for your turn, or our conversation ends here.” If they try to make excuses, laugh it off or keep interrupting, end the conversation. Prove them that if they wont let you speak, they’re not worth your time.
Why does this work? First, because sometimes talking over is internalized and men don’t actually notice they’re doing it. Being vocally called out makes them realize it and pay attention to it – especially if it happens more than once. Secondly, by refusing to acknowledge anything they say when they interrupt you, they’ll soon realize they will not get their own point across if they keep doing that. People and especially men have the need to be heard and paid attention to when they talk – when you make it clear that by talking over you, they will not have your attention, they’ll learn to wait until you’re done, because they know that’s when you will be paying attention and actually listening.
Go my darlings. Have some actual conversations where your point of view is just as valid as his. Demand the basic respect of being heard. You can actually have some interesting conversations with men when they’re forced to listen too, when being louder is not going to make them feel like they’re dominating the conversation or winning the argument.
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