#Thomas Venker
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Peter Brötzmann in conversation with Thomas Venker for Kaput – Magazin für Insolvenz & Pop ... Filmed at JUBG, Cologne, on the opening day of the exhibition by Peter Brötzmann 2021
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Sources Masterpost
A collection of all useful sources on anti-feminism that I have used or liked. I'm constantly updating it as I continue my research:
Anti-suffragism:
Thoughts on Female Suffrage and in Vindication of Woman's True Rights - Madeleine V. Dahlgren, 1871
Woman and the Republic - Helen K. Johnson, 1897
The Remonstrance - National Association Opposed to Woman Suffrage, 1911-1920
The Business of Being a Woman - Ida M. Tarbell, 1912
"Ballot Not a Panacea for Existing Evil" - Alice H. Chittenden, 1913
Anti-Suffrage Essays by Massachusetts Women - 1916
"A Cause Lost—and Forgotten" - Helen Andrews, 2015
Anti-ERA:
The Power of the Positive Woman - Phyllis Schlafly, 1977
“The Special Case of Women” in Civil Rights: Rhetoric or Reality? - Thomas Sowell, 1984
Modern Anti-Feminism:
The Flipside of Feminism: What Conservative Women Know—and Men Can’t Say - Phyllis Schlafly and Suzanne Venker, 2011
How the Republican Party Became Pro-Life - Phyllis Schlafly, 2016
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Many brands throughout history have recognized that pop culture and music reach and move people. Very few succeeded in entering into a deeper symbiosis with music, let alone building a long-term relationship with the unique world of pop. The fact that the former state-owned company Telekom has established Electronic Beats as one of the central platforms of electronic music culture for 20 years is not a matter of serendipity and at the same time a story full of interesting twists and turns and happy decisions.
Telekom Electronic Beats has illuminated underground music scenes and club culture from all over the world over the past two decades. The Berlin publication has published a title book for its 20th anniversary. With exclusive photo galleries and drawings by the German artist Stefan Marx , the German-language book contains essays by key figures in the Electronic Beats universe, including Honey Dijon, Billie Eilish, Bryan Ferry, Daniel Wang, Lars Eidinger, Ji-Hun Kim, Whitney Wei, Max Dax, Marie Staggat, Sven von Thülen, Lisa Blanning, Jan Wehn, Jens Balzer, Gunseli Yalcinkaya, Laura Aha, Thomas Venker, Derek Opperman, Aida Baghernejad, Dixon, Transmoderna, Jens-Gerrit Papenburg, Anika Meier, Tim Bruening, Caroline Whiteley, Ellen Allien, Nina Kraviz, Irina Baconsky, and the co-founders of the GmbH, Serhat Işık and Benjamin Alexander Huseby.
The anniversary book is part of a digital content campaign lasting several months. It takes place mainly on www.electronicbeats.net/20years . In it, Telekom illuminates an eventful time with its music program, moves in the now and explores future developments. It creates immersive worlds of experience and shows multimedia content from the Electronic Beats archive.
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Monika Werkstatt - original compilation from Gudrun Gut’s Monika Enterprise
Gudrun Gut, the artistic powerhouse behind labels Monika Enterprises and Moabit Musik is a musician with an extraordinary legacy – be it as a member of Berlin’s legendary act Malaria, OceanClub, her acclaimed solo projects or recently a collaboration with Faust’s Hans Joachim Irmler. Gudrun Gut has a proven track record of successfully connecting with like-minded artists on unusual paths of creativity. She´s an outstanding example of someone who refuses to compromise their artistic vision.
And now she is ready to present one of her most ambitious projects ever: Monika Werkstatt – a loose collective of female artists set up to enable each of them to achieve new goals through collaboration. Monika Werkstatt will ensure that their artistic output gains visibility in an art context still too dominated by men.
From a melange of ambience, improvisation and song we are treated to a double album that features 25 shining stars. Keeping to their motto of total freedom, the range of styles and sounds are very diverse.... Try as you might, you’ll not be able to second guess a moment of „Monika Werkstatt“. By giving everyone, both group and individual, freedom of creativity these musicians have really charted new territory. I would be lying if I said I wasn’t jealous to have not been on Sternhagen Gut while the magic happened.
Thomas Venker, Cologne, January 2017 (condensed from original)
released June 16, 2017
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Intro - June, 2013 [Translated]
Here is a great RAM-era interview I found on Issuu.com! There’s discussion about the guest musicians, real instruments vs electronic equipment, the lyrics, why new music takes them so long, and the RAM marketing campaign. Fair warning that I do not speak German, and this was done via Google Translate and WordReference.com, so it’s loosely translated at best, but it is nice readable English.
“ONLY THE MUSIC”
Intro Magazine, June 2013
Eight years ago, Daft Punk released their last studio album Human After All. Now, Thomas Bangalter and Guy-Manuel de Homem-Christo are back: Random Access Memories, their most elaborate work, is completely without outside samples and is based on a cross-generational guest list. Together with Giorgio Moroder, Nile Rodgers, Pharrell Williams, and six other guest musicians, they explore a spectrum of sounds ranging from West Coast Pop to disco, to contemporary house and R&B.
The Random Access Memories project was subject to extreme secrecy. Following a strict schedule set by the two Frenchmen, it was revealed to the public little by little via advertising clips on Saturday Night Live and at the Coachella Festival. Sebastian Ingenhoff and Thomas Venker speak exclusively with Thomas Bangalter and Guy-Manuel de Homem-Christo about the album’s different production methods, the slow work pace, the guest musicians, and the long-awaited lyrics.
Daft Punk, why did you choose the title Random Access Memories?
Thomas Bangalter: It is about the interrelationship between computer memory and human memory, which is more and more being replaced by digital technologies. Technological progress plays an important role nowadays, it is being integrated into everyday life more and more and so has a real impact on human behavior. We have always been interested in futuristic ideas, as you can tell from the robot personas we assume on stage. Robot figures, which shift between artificial intelligence and human behavior, are a recurring theme in science fiction.
On your album, however, you did not use computer technology. The tracks were done with analog equipment and guest musicians. So you are “human after all”!
Thomas: That’s true, but it’s still the same music. You can achieve precise craftsmanship in an analogous way and also have a certain robotic quality. It works on a different level than artificial intelligence. The human aspect of electronic music has always interested us. How do you make music that is mainly produced with synthesizers and sequencers come to life? Lifeless electronic music is synonymous with bad music.
You were able to get two pioneers of dance music together as guest musicians, Giorgio Moroder and Nile Rodgers. Moroder, for example, took up techno at the start with Donna Summer’s 1977 production “I Feel Love”.
Thomas: We wanted to represent a broad spectrum to carry the past into the future, to draw a connecting line through the decades. Not in an archival sense, but with a clear view of the future. Giorgio Moroder may be over seventy years old, but he still has something to say, and he does more contemporary work than a lot of young producers. We wanted to create something that is timeless but also contemporary.
The piece with Giorgio Moroder is a good nine minutes long. It starts with a monologue in which he first reflects on himself and his work, before handing the stage over to a meandering track that shows what freedom music can have. Did he come up with that idea himself?
Thomas: We wanted to document the history of his music. Where did Giorgio come from? What kind of circumstances did he face when he invented techno? Did it come about by accident or was it due to his ideas of futuristic music? This is of course something archival, but then comes this incredible song with incredible synthesizers and a great hookline. You can immediately recognize Giorgio Moroder’s style. But also our style – at least I hope so. It was about the line connecting us. We want to show that today’s dance music would not be possible without the dance music from the 1970s.
The other disco-era icon on the album is guitarist Nile Rodgers, who is still very busy – he was just on tour with Chic and in the studio with Tensnake. How was it collaborating with him?
Guy-Manuel de Homem-Christo: He is now over sixty years old, but insanely energetic and young at heart. It was incredible to be able to work with him. He still comes across as a child, totally enthusiastic and engaged. If you feel Nile Rodgers’ energy, then you realize that physical age says nothing about a person. He was very ill, he had cancer. When you have conquered a disease like that, you live your life more consciously and intensely. He is incredibly productive and always wants to do three things at a time.
Thomas: He told us an incredibly beautiful story about the making of Chic’s “I Want Your Love”. When Nile first heard “I Feel Love” by Moroder and Donna Summer, he thought, “Wow, this guy’s playing is super tight, this is incredibly fast and precise.” When he realized the tightness came from the sequencer, he wanted to bring that into his guitar playing. So he followed the sequencer. And this is how “I Want Your Love” by Chic came about! Listen to both pieces one by one and pay attention to the guitar playing. It’s amazing. No one knew that until now. Nile is a huge fan of Giorgio Moroder. And vice versa, Giorgio is also a big Chic fan. But they never really worked together. On Random Access Memories they have finally come together. Obviously that makes us proud!
On the other hand, you recruited young producers like Gonzales, Panda Bear, and Pharrell for the album.
Thomas: Exactly: “Past, present, future”. They are all producers we like and who have touched us somehow. Take the tracks with Pharrell Williams and Nile Rodgers – the most innovative R&B producer of the past decade meets the most brilliant disco guitarist in the world. The guests on the album are virtuosos in their field and were able to make a real contribution to our ideas. Neither Guy-Manuel nor I are outstanding at the piano — Gonzales, however, is certainly one of the best pianists in the world. So he was able to contribute something that we could never have done in our lives. We did not just want big names, but rather contributions that made sense.
The lyrics are about the search for love, the essence of life, the hedonistic escapism of the night — and all the abysses connected with it, the dramas and losses. That’s typical of disco, that the music is often very uplifting but the lyrics are contradictory. That is tradition, even so for Chic.
Thomas: Dance music needs that emotional depth, that contrast of sadness and happiness. It is always easier to create something that is sad or happy. But to combine both in a song, that is art.
Guy-Manuel: That’s the great thing: you can be incredibly happy and be crying at the same time. Ideally when you’re dancing, you feel like a volcanic eruption, bubbling over in all directions. It’s not just black and white, but many shades between. Our albums have always tried to represent a broad spectrum of feelings. There are very dark tracks from us, but you can still play them in a club because they might have an uplifting bass line or a nice melody.
This year is your anniversary: 20 years of Daft Punk. Yet you have announced you will not be performing live this year. Why?
Guy-Manuel: There is no need to rush. We have completely invested the past few years in the record, now we want to enjoy the anniversary.
Thomas: We want people to focus on the album and not on us standing on stage. It should be something special with a very particular value — after all, it was a very ambitious undertaking.
Guy-Manuel: For many, a new album is just an excuse to go back on tour. That’s where they can make money. But we want it to have a special appreciation and not be just a flashy stage show. That’s why we’ve said from the outset: Here’s the record, and it stands on its own. No music videos, no tour, only the music.
You started in 1993 as young bedroom producers. Now for the new album you have worked in several big studios like Ampex in Los Angeles and Electric Lady in New York. How did that affect writing the tracks?
Thomas: Was our songwriting process really different than before? We have never thought of electronic music as computer music, as something that you sort of spit out. It has always been about capturing and preserving a special moment. When we started, it was much more chaotic than it is now. We had a bunch of drum machines and a couple of good ideas we could feed into them. But we never wanted to control the equipment like a computer, rather appreciate it as a living thing. As an organism. Now we are doing the same thing with real instruments. If you do punk rock and suddenly everyone else starts doing punk rock, it would get boring at some point. Then maybe you want to compose an opera, just to see if you can bring punk rock into it. Then opera becomes the new punk rock.
Guy-Manuel: Now electronic dance music has become very uniform. With the computer, anyone can put tracks together, but often they are only presets that have been strung together. It’s not a challenge. We want to make music that is more than a few mouse clicks. We want to have emotion and soul. Just something human.
Bangalter: It’s hard to program emotion on a computer. Analog synthesizers give you a mix of different sounds, but they never sound sterile. It is much different than a computer. If you then add in elements like a Fender Rhodes and a keyboard, you can create poetry. You can’t produce an album with a few mouse clicks. Obviously this is a very conservative point of view. But just imagine what would have happened if the few people who make interesting music on the computer would have used real instruments.
But Chicago house, which greatly influenced you, relied on this difference. It was a statement against submissiveness, a revolution in the sense that you no longer had to master instruments to produce music. It was about being creative with something simple like a drum machine and a sampler.
Guy-Manuel: Of course, and the music always sounded very warm. Chicago House had soul and depth, something you find in few dance tracks now. Maybe because at the time they were using real synthesizers and real drum machines. It might have been produced quickly, but it was made with a lot of attention to detail. When I’m at a club and there’s a Robert Armani track on, I can instantly distinguish it from the mush of beats. However I cannot tell most contemporary dance tracks apart, a lot of it just sounds boring to me.
Your first album Homework was the blueprint of a somewhat more brutal sound that was cultivated a few years later by the label Ed Banger. Pedro Winter was also your manager for a while. Are you following the Parisian scene now?
Thomas: Ed Banger is celebrating its tenth anniversary this year. Pedro comes from our generation, we started at the same time and have been experiencing similar advancements. We share the same interests and preferences. It’s nice to see that they’ve found their way and that this sound lives on. It’s hard for artists and labels to stay on the ball for years and years, because the scene changes: younger people grow up and want different sounds. If you’re still around after so long, then you’ve done something right.
In twenty years you’ve only released four studio albums. You take a lot of time.
Thomas: We have to do it like that, because it gets increasingly more difficult to reinvent ourselves. You want to become more complex and not a caricature of yourself. Many older musicians keep making the same thing out of convenience, because they are afraid to lose their fans. But that’s bullshit. If you don’t have any challenges to face as a musician you might want to retire. We take a lot of time because we want to reach a higher level with each album. Like a video game. That’s why the latest album is always the most difficult for us.
As a marketing gimmick you aired two fifteen-second commercials on Saturday Night Live. What was the idea behind the campaign?
Thomas: It was supposed to be very small teasers that don’t give away too much but arouse curiosity. Like a good commercial. We intentionally didn’t want anyone to hear any songs in full. Physical marketing through print magazines, TV stations, and billboards just has a better vibe than online marketing. It fits better for us, because we grew up with that. All of this online marketing is not very poetic. We make the tools available to people and they can do with them what they want. We don’t use the internet much ourselves. Of course we shot an elaborate video that we put on YouTube, but that’s not exactly what we wanted this time.
But at the same time you are known for your spectacular music videos. You’ve worked with major music video directors like Spike Jonze and Michel Gondry in the past.
Thomas: Many say our clips were revolutionary, but the revolution was that we didn’t make any. After the two fifteen-second videos came a slightly longer performance video with Nile Rodgers, Pharrell Williams, and our two robots. But it’s not a music video, it’s more like an advertisement. In either case it’s pretty funny. I don’t think you can really surprise people with music videos anymore in the internet age. That’s why you have to move forward, giving yourself challenges and new formats to utilize, both on a musical and an aesthetic level. Random Access Memories is a complete piece of artwork that must first be absorbed. For me that could go on for more than a year. What comes after that? A tour? A film? We’ll see.
—
THE HISTORY OF DAFT PUNK
Through the years with Homem-Christo and Bangalter
1974
On February 8th Guy-Manuel de Homem-Christo is born in Paris.
1975
On January 3rd Thomas Bangalter is born in Paris.
1992
de Homem-Christo and Bangalter form the rock band Darlin’ with Phoenix musician Laurent Brancowitz. The British magazine Melody Maker described their demo as “a dafty punky trash” - a historically significant phrase.
1993
Bangalter and de Homem-Christo change their sound, creating a techno house group and naming it Daft Punk.
1994
Scotsman Stuart McMillan reacts euphorically to their hand-delivered demo “The New Wave” and signs the two to his label Soma. As a result the three singles “The New Wave / Assault / Wave”, “Da Funk / Rollin’ & Scratchin’”, and “Into Silver Club” are released.
1995
Daft Punk move to the major record label Virgin, sending Da Funk up the charts with a bigger marketing campaign.
Thomas Bangalter forms the label Roulé.
1996
The last photo of the two in which you can see their faces is shot in May 1996.
1997
Daft Punk’s first album is released on January 17th. Homework makes them well-known outside the club scene. Among the biggest hits of the album are Da Funk, Around The World, and Revolution 909.
Guy-Manuel de Homem-Christo, together with Eric Chedeville, forms the label Crydamoure and the group Le Knight Club.
1998
Bangalter, together with Alan Braxe and Benjamin Diamond as Stardust, releases the hit single “Music Sounds Better With You”.
Bangalter and de Homem-Christo go into the studio with Romanthony. One of the songs from this session, “One More Time”, is released two years later as a single and, with more than four million copies sold, becomes the duo’s biggest hit so far.
2001
On March 9th their second album Discovery is released. In addition to Romanthony, there are guest appearances by DJ Sneak and Todd Edwards. It will go on to sell three million copies.
For music videos of Discovery’s single releases Daft Punk use excerpts from Interstella 5555, a musical they produced with anime director Leiji Matsumoto.
2002
Thomas Bangalter��s partner, the actress Élodie Bouchez, gives birth to their son Tarra-Jay on January 22nd.
Bangalter produces part of the soundtrack for the controversial French film Irreversible by Gaspar Noé. He also later worked on the soundtrack of its successor, Enter The Void [Note: Not really true, Thomas did help a little bit but was busy with Tron at the time; he is credited on this film as a “sound effects director”].
On July 8th, LCD Soundsystem releases their song “Losing My Edge”, in which James Murphy sings about being the first guy playing Daft Punk to the rock kids.
2005
On March 14th their third album Human After All is released. It’s a harbinger of Daft Punk’s later period of sampleless-ness.
On February 21st LCD Soundsystem released their hit song “Daft Punk Is Playing At My House”.
2009
Daft Punk produce the soundtrack of Tron: Legacy. The album is released on December 6th.
2010
On October 20th Daft Punk make a guest appearance at the Phoenix show at Madison Square Garden. They play a mix of “Harder, Better, Faster, Stronger”, “Around The World”, and “1901”.
2013
On May 17th Random Access Memories is released. For the duo it is one of the most important moments of their career, “because the best is always yet to come,” says Bangalter. “You must not think retrospectively.”
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[vc_row][vc_column][vc_column_text]Stephen Baskerville is a prolific writer against unilateral no-fault divorce. He says the Church has vacated territory that is rightly theirs when they let the no-fault divorce industry take over marriages.[/vc_column_text][vc_video link='https://youtu.be/kEO4ecR_Izo' el_width='60'][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]
The social costs of family breakdown and single parent homes is well known and conservatives will write about that.
But conservatives won't do anything about no-fault divorce.
Something happened to the Churches and they caved.
At one time the Church was the natural forum/counselor/therapist and their counsel had moral component to it.
The problem is that the churches retreated from that territory and didn't want to be judgmental.
They thought somehow that divorce was not their business.
By vacating this territory, it is the legal industry moves in.
The lawyers, judges and court-therapist take that turf that the churches had vacated.
What do the Churches do? Do that express outrage, say you can't do that, defend the wronged party against this abuse of governmental power?
No, they do nothing.
The great churchmen of our past, like Thomas More and John Fisher, stood up to the abuse of governmental power (communists, Nazis, or King Henry VIII)
Brave churchmen have stood up to the state saying this is God's territory, not yours.
Baskerville is a professor is a political science professor at Patrick Henry College, and author of
Taken into Custody, the War Against Fathers, Family and Marriage
and
The Politics of Sex
. The excerpts featured are from his interview by Suzanne Venker about the
divorce industry and the myth of the deadbeat dad
. Venker is an author and speaker who says she's been fighting back against America's gender war for years and has made it her mission to help others do the same in order to keep their marriages and families strong.[/vc_column_text][/vc_column][/vc_row]
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Kraftwerk - The Kling Klang Studio in Düsseldorf
Kraftwerk – The Kling Klang Studio in Düsseldorf
The private music studio of the band Kraftwerk. The name is taken from the first song on the Kraftwerk 2 album. The studio was originally located at Mintropstraße 16 in Düsseldorf, Germany, adjacent to Düsseldorf Hauptbahnhof, but in mid-2009 moved to Meerbusch-Osterath, around 10 kilometers west of Düsseldorf.
Kling-Klang-Studio / Image: Thomas Venker via kaput-mag.com
Kling-Klang-Studio /…
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— Estados Unidos, 2013.
Chaneya Kelly está em uma missão: ela quer que o mundo saiba sobre uma mentira horrível, ela diz, ela disse quase 16 anos atrás – uma mentira que custar um homem da sua liberdade.
“Eu tenho 24 anos e eu cometi este erro quando eu tinha nove anos de idade”, disse Chaneya NBC News, “mas nunca é tarde demais para tentar e direita seu erro.”
Chaneya diz que, em 1997, ela acusou falsamente um homem de estuprá-la. Esse homem – que sempre afirmou sua inocência – é Daryl Kelly, pai de Chaneya.
“Tudo que eu penso é: ‘Um dia a verdade me libertará”, disse Kelly, de Green Haven Correctional Facility em Nova York. “Tudo o que tenho a fazer é segurar.”
Em Outubro de 1997, Daryl Kelly estava vivendo com sua esposa, Charade, e seus cinco filhos em Newburgh, NY, 90 milhas ao norte de Nova York. Chaneya, seu filho mais velho, era de dois meses antes do seu nono aniversário.
Na época, Daryl – um veterano da Marinha que era dono de uma loja de conserto de eletrônicos local – diz ele estava tentando largar um vício de drogas para cuidar de seus filhos. Mas Charade estava no fundo do poço, mesmo se voltando para a prostituição para alimentar seu vício.
Chaneya se lembra de estar no andar de baixo com seu pai em uma manhã antes da escola quando ela teve que usar o banheiro. Quando ela foi feita, ela subiu as escadas, e é aí que Chaneya diz sua mãe lhe fez uma pergunta que saiu do azul.
“Ela repetidamente pediu-me, se meu pai me tocou”, lembrou Chaneya. “Eu era como, ‘O que quer dizer, que ele me tocar?’ E ela era como, ‘Será que ele te tocar em sua falta de nenhum lugar?’ E eu gostaria de repetidamente dizer não. ”
Chaneya diz que quanto mais ela negou qualquer abuso, mais irado sua mãe tornou-se – e até mesmo ameaçou-a com um cinto. De acordo com Chaneya, sua mãe disse: “Se você não me diga a resposta que eu quero ouvir, eu vou bater em você.” Para evitar uma surra, diz Chaneya, ela disse à mãe que seu pai a molestou mesmo que não era verdade.
Na manhã de 29 de outubro de 1997, os serviços Newburgh levou Kelly centro para interrogatório. Eles descobriram algumas de suas respostas suspeitas.
Na verdade, não havia nenhuma evidência forense definitiva de que Chaneya havia sido estuprada. Enquanto o relatório de um médico se concluir que houve “um possível abuso sexual” por causa de alguma vermelhidão, o hímen de Chaneya estava intacto, embora ela alegou que seu pai tinha a penetrou.
Mas com tanto Chaneya e sua mãe dizendo polícia a mesma história, foi o suficiente para a polícia. Daryl Kelly foi acusado de múltiplas acusações de estupro e sodomia.
Com base no testemunho gráfico de Chaneya, que levou apenas algumas horas para encontrar seu pai culpado, e ele foi condenado a 20 a 40 anos e impedidos de ter qualquer contato com os filhos.
Seis meses depois da condenação de seu pai – que Chaneya disse sua avó que ela nunca foi estuprada, e que a história tinha nascido por medo de sua mãe.
Enquanto isso, Chaneya nunca desistiu de seu pai. Quando ela tinha 15 anos, ela convenceu os tribunais para permitir que ela voltar a ter contato com ele – e isso é quando ela foi visitá-lo na prisão.
“A primeira coisa que meu pai fez foi que ele me abraçou e me disse que me amava e… que ele não me culpar por nada”, recordou Chaneya. “Foi inestimável para mim.”
Por trás dos muros da prisão, Daryl Kelly tem escrito para quem quiser ouvir a sua história. No ano passado, uma dessas cartas pousou sobre a mesa de Thomas Schellhammer, o chefe da Conviction recém-formado comentário Bureau no escritório do N.Y. procurador-geral. Schellhammer contactado Orange County District Attorney Frank Phillips, promotor-chefe eleito do município há quase 30 anos, que estava no comando quando Daryl Kelly foi julgado.
“O sistema diz que não está inocente, que a credibilidade da Chaneya foi testado, que as questões relacionadas com o seu testemunho em 1998 foram abordadas”, disse Phillips.
Phillips também disse que “não era único” para a vítima de um crime, como estupro ou abuso sexual querer proteger o abusador, retirando uma acusação. “É parte de uma dinâmica que lidar com eles. Quer se trate de crimes sexuais ou crimes de violência doméstica, que não é incomum.”
Depois de ouvir de Schellhammer, Phillips se absteve de votar a partir de reexaminar o caso Kelly e submeteu-o a um comitê da associação estado de promotores do condado de revisão. Onondaga County District Attorney William Fitzpatrick está atualmente conduzindo uma re-investigação; seu escritório disse à NBC News que se recusou a comentar, enquanto a revisão está em andamento. Detetive Thomas Mancinelli, que liderou a investigação policial original, em Newburgh, também se recusou a comentar o caso.
É possível que Chaneya é simplesmente reprimir uma memória horrível, que o pai dela realmente fez estuprá-la, e ela se sente culpada por colocá-lo atrás das grades?
Ela diz que não, que ela não tem nenhum problema com seu pai restantes na prisão se ele fosse culpado.
Quanto Daryl, ele diz que não será verdadeiramente livre até que ele é vindicado. “Essa luta nunca vai acabar”, disse ele. “Vou continuar a lutar por isso. Esta é a minha reputação. Este é o meu decreto. Esta é a verdade. Não é apenas para mim. É para a minha filha também.
— MSNBC, “I lied and sent my dad to prison”, 19.08.2013.
Olha essas também:
• “O feminismo cometeu um grande erro ao difamar a maternidade.” « Camille Paglia ocontraditorio.com/ladodireitodaequidade/?p=7084
• “Feministas não vêem diferença entre palavras e ações. Suspeitam de todos os homens.” « Suzanne Venker ocontraditorio.com/ladodireitodaequidade/?p=42327
• As Verdadeiras Mulheres Assassinas – Insanidade ou Maldade? « EUA ocontraditorio.com/ladodireitodaequidade/?p=46649
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Kling-Klang-Studio, Düsseldorf, Juni 2015 (Photo: Thomas Venker)
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Thomas Venker interviewt Bernadette La Hengst im Kaput - Magazin für Insolvenz & Pop
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Thomas Venker interviewt Frank Spilker im Kaput - Magazin für Insolvenz & Pop
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