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Thursday July 30th 2020 Captain Phil welcomes Peter Jones of Tiger Moth Tales (https://www.tigermothtales.com/) to the Planet. Peter is part of a fantastic line up of artists performing at the ProgStock Virtual series (https://www.facebook.com/events/692088328301564/) which he kicks off this Saturday 5pm Eastern time along with Julie Slick and Rachel Flowers

5PM: Peter Jones of Tiger Moth Tales (45 minutes)
https://tigermothtales.bandcamp.com/
6PM: Julie Slick - Bassfest (90 minutes)
8PM: Rachel Flowers (90 minutes)

Click on https://www.progstock.com/2020/ for directions on how to stream these incredible music events to your very home!

In the 4pm hour Captain Phil Welcomes Rorie Kelly (http://www.roriekelly.com/), Jamey Merkel (https://www.poorpeoplescampaign.org/) and Pauline Salotti (https://www.paulinegreen.us/) to discuss Alexandria Ocasio-Cortez' speech on the floor of congress on July 23rd 2020 in response to Rep. Ted Yoho of Florida which is posted below!

All this and some great prog rock on Captain Phil's Planet! Tune in 3pm to 5pm!

TIGER MOTH TALES

Tiger Moth Tales is essentially the brain child of nottinghamshire based musician and writer Peter Jones, who has been involved in the music industry performing around the UK and recording his own material since the late 90s.
Pete was born on October 6th 1980. At fifteen months Pete lost his sight due to Retinoblastoma. From an early age he was into all things musical and at the age of four had his first piano.

"Music has always been a huge part of my life. How much of that was influenced by my sight loss it's impossible to say, but i've always had a knack of picking up music by ear pretty quickly." (Pete)

Throughout his school years he took part in all kinds of musical activities ñ school plays, music festivals and concerts. One of the highlights of his young life was winning the junior final of BBC’s ‘Song for Christmas’ in 1988. Around this time he started to be aware of the music in the charts and was also influenced by music his parents listened to. Artists such as Phil Collins, Paul McCartney and George Michael were big influences, along with bands including Queen, Genesis, the Beatles and the Carpenters.

Peter composed from an early age, usually in the form of improvisations which he would capture on his cassette recorder.
"I would often write songs or instrumentals around a story or event. Sometimes these could be quite long pieces with unconventional structures. I suppose I always had a free form approach to composing, and although I didn't know it at the time, I was writing music with progressive leanings from the age of eight well in to my teens." (Pete)

Pete studied music and music technology and performed in bands singing and playing jazz, swing, rock and classical pieces.

He specialized in the piano and recorder, achieving grade 8 in both. Other instruments include keyboards, guitars and bass, alto sax, whistles and various percussion. Also he became more confident with vocals and throughout his later school years he fronted various bands and gave many solo performances.

By the time he completed his A levels he was gigging in local venues, performing pop covers and a few original songs. His writing style had moved more in to a conventional pop genre, though he experimented with many styles both modern and classical.

On leaving school in 1999 he formed the successful duo ‘2 to Go’ with friend and vocalist Emma Paine. Over the next ten years they became one of the most successful duos on the circuit performing at clubs and corporate events around the UK and abroad. During that time they were finalists in the BBC's Star For A Night in 2001 and ITV’s ‘The X Factor’ in 2004. They went on to appear in the National Arena X Factor Tour which followed in 2005.

Pete continued to perform as part of 2 to Go and as a solo performer. He also wrote and recorded many original works. In 2010 Pete had his first official album release with "Look At Me Now". This self penned and produced album was a collection of songs from the previous 10 years, including different Genres but with an overall adult contemporary feel. Look At Me Now enjoyed good sales online and also on the road, and the plan was to start work on a follow up album in a similar vain.

"In various interviews and responses to fans I said that I was looking at putting out a follow up album at the beginning of 2012. But in reality I was suffering from writers block in a bad way. After several failed attempts with record companies to get my music noticed I wasn't sure what my next step should be. Producers and A&R people I spoke to always wanted to pin me down to a particular sound or genre, but I didn't want that. However, I started to doubt myself and the writing pretty much came to a halt." (Pete)

At the beginning of 2013, Pete started work on a new project. This took the form of a concept album, and it was the first progressive music he had written since he was a teenager.
"The idea was to try to recapture the freedom of my childhood compositions and to write something just for myself without conforming or any idea of even releasing the material. I had a theory that if I could just enjoy composing for the hell of it, then maybe that would reenergise the writing process and I would be able to go back and finish off the album I was supposed to be working on. But then the prog took over." (Pete)

Throughout 2013 Pete continued to write and record new progressive music and by October 2013 "Cocoon" the new album was complete.

Cocoon is a concept album on the subject of Childhood, and coming to terms with the loss of childhood. The journey goes through stages of Innocence, joy, imagination, stories, friendship, love, nature, nostalgia, grief, acceptance and rebirth.

"It all happened by accident really. One day I sat down to try and write a song, and ended up with the beginning of a prog song about Trumpton. I had no idea what I was going to do with it, but as I tried to focus more on conventional music, I kept getting more and more ideas about songs on childhood subjects and in my head it was all prog. It seemed there was nothing for it but to see the thing through and see what happened." (Pete)

The album which has had very promising initial responses will be released under the band name "Tiger Moth Tales". The new name follows Pete's decision to continue writing in the Progressive genre.
"The name Tiger Moth Tales comes from various references, one of which is from Steve Hackett who is one of my biggest influences in this field. Having written the album, I've turned on a creative tap which I thought had run dry along time ago, and i'm already working on ideas for a new progressive album. It seemed like a good idea to have a band name as it clearly differentiates between my prog output and the pop stuff I brought out before and who knows may return to some day. On Cocoon I pretty much did everything from start to finish, but it would be nice to collaborate and include other musicians in future albums, so a band name feels better from that aspect too. It allows room for expansion." (Pete)

This breath taking new album is a departure from Pete Jones' previous output, but also a return to the music of his youth and the free form ideas which used to fuel his compositions as a child. Anyone who has fond memories of their childhood will appreciate the feelings and emotions captured in this fresh, yet timeless piece of writing. Cocoon is a new and stunning addition to the Progressive music world, and there is more to come from Tiger Moth Tales. Pete Jones has already returned to the studio with new ideas. Watch this space!

REP. ALEXANDRIA OCASIO-CORTEZ: I would also like to thank many of my colleagues for the opportunity to not only speak today, but for the many members, from both sides of the aisle, who have reached out to me in support following an incident earlier this week. About two days ago, I was walking up the steps of the Capitol when Representative Yoho suddenly turned a corner — and he was accompanied by Representative Roger Williams — and accosted me on the steps right here in front of our nation’s Capitol.

I was minding my own business, walking up the steps, and Representative Yoho put his finger in my face. He called me disgusting. He called me crazy. He called me out of my mind. And he called me dangerous. And then he took a few more steps, and after I had recognized his comments as rude, he walked away and said, “I’m rude. You’re calling me rude.” I took a few steps ahead, and I walked inside and cast my vote, because my constituents send me here each and every day to fight for them and to make sure that they are able to keep a roof over their head, that they’re able to feed their families and that they’re able to carry their lives with dignity.

I walked back out, and there were reporters in the front of the Capitol. And in front of reporters, Representative Yoho called me — and I quote — “a f—ing bitch.” These are the words that Representative Yoho levied against a congresswoman, the congresswoman that not only represents New York’s 14th Congressional District, but every congresswoman and every woman in this country, because all of us have had to deal with this in some form, some way, some shape, at some point in our lives.

And I want to be clear that Representative Yoho’s comments were not deeply hurtful or piercing to me, because I have worked a working-class job. I have waited tables in restaurants. I have ridden the subway. I have walked the streets in New York City. And this kind of language is not new. I have encountered words uttered by Mr. Yoho and men uttering the same words as Mr. Yoho while I was being harassed in restaurants. I have tossed men out of bars that have used language like Mr. Yoho’s. And I have encountered this type of harassment riding the subway in New York City. This is not new. And that is the problem.

Mr. Yoho was not alone. He was walking shoulder to shoulder with Representative Roger Williams. And that’s when we start to see that this issue is not about one incident. It is cultural. It is a culture of lack of impunity, of accepting a violence and violent language against women, and an entire structure of power that supports that. Because not only have I been spoken to disrespectfully, particularly by members of the Republican Party and elected officials in the Republican Party, not just here, but the president of the United States last year told me to go home to another country, with the implication that I don’t even belong in America. The governor of Florida, Governor DeSantis, before I even was sworn in, called me a “whatever that is.”

Dehumanizing language is not new. And what we are seeing is that incidents like these are happening in a pattern. This is a pattern of an attitude towards women and dehumanization of others. So, while I was not deeply hurt or offended by little comments that are made, when I was reflecting on this, I honestly thought that I was just going to pack it up and go home. It’s just another day, right?

But then, yesterday, Representative Yoho decided to come to the floor of the House of Representatives and make excuses for his behavior. And that, I could not let go. I could not allow my nieces, I could not allow the little girls that I go home to, I could not allow victims of verbal abuse, and worse, to see that, to see that excuse, and to see our Congress accept it as legitimate and accept it as an apology and to accept silence as a form of acceptance. I could not allow that to stand, which is why I am rising today to raise this point of personal privilege.

And I do not need Representative Yoho to apologize to me. Clearly, he does not want to. Clearly, when given the opportunity, he will not. And I will not stay up late at night waiting for an apology from a man who has no remorse over calling women and using abusive language towards women. But what I do have issue with is using women, our wives and daughters, as shields and excuses for poor behavior.

Mr. Yoho mentioned that he has a wife and two daughters. I am two years younger than Mr. Yoho’s youngest daughter. I am someone’s daughter, too. My father, thankfully, is not alive to see how Mr. Yoho treated his daughter. My mother got to see Mr. Yoho’s disrespect on the floor of this House towards me on television. And I am here because I have to show my parents that I am their daughter and that they did not raise me to accept abuse from men.

Now, what I am here to say is that this harm that Mr. Yoho levied, tried to levy against me, was not just an incident directed at me. But when you do that to any woman, what Mr. Yoho did was give permission to other men to do that to his daughters. In using that language in front of the press, he gave permission to use that language against his wife, his daughters, women in his community. And I am here to stand up to say that is not acceptable. I do not care what your views are. It does not matter how much I disagree or how much it incenses me or how much I feel that people are dehumanizing others. I will not do that myself. I will not allow people to change and create hatred in our hearts.

And so what I believe is that having a daughter does not make a man decent. Having a wife does not make a decent man. Treating people with dignity and respect makes a decent man. And when a decent man messes up, as we all are bound to do, he tries his best and does apologize, not to save face, not to win a vote. He apologizes, genuinely, to repair and acknowledge the harm done, so that we can all move on.

Lastly, what I want to express to Mr. Yoho is gratitude. I want to thank him for showing the world that you can be a powerful man and accost women. You can have daughters and accost women without remorse. You can be married and accost women. You can take photos and project an image to the world of being a family man, and accost women without remorse and with a sense of impunity. It happens every day in this country. It happened here on the steps of our nation’s Capitol. It happens when individuals who hold the highest office in this land admit — admit — to hurting women and using this language against all of us.