Surely some revelation is at hand; surely the Second Coming is at hand.

SHOCKING VIDEO: Transgender Influencer Goes Topless at White House Pride Event
During the White House’s Pride Celebration on the South Lawn on Saturday, many Americans rebuked the flag display as disrespectful and not in line with the proper flag code. But, the desecration of all respected norms and markers of our national pride didn’t stop there. Transgender Tik Tok influencer Rose Montoya decided to go topless, along with others.

In a video posted to Montoya’s Tik Tok account, clips of President Joe Biden and First Lady Jill Biden giving pep-talk affirmations of “you are love” and “you belong” are featured. In the next segment, Montoya is seen greeting both Jill and Joe Biden, saying:

Hi, Mr. President. Trans rights are human rights.

Then the President is seen, looking confused and failing to successfully take a selfie, as Montoya laughs saying:

Oh, it’s a video!

The video cuts to Montoya dancing provocatively in front of a barrier adorned with the Seal of the President of the United States, while waiving a transgender flag and making sure their butt wiggling is captured for online audiences.

Three people are featured in the clip, exposing their chests while two are touching their bare nipples. Montoya, a biological male, jiggles implanted breasts in their hands while smiling for the camera. The individual shown last in the clip is a biological woman who had their breasts removed, leaving scarring. Defiant in the face of the dishonor Montoya’s actions bestowed upon our capital, the final clip is more self-absorbed vapid antics, posing, and blowing kisses to the camera.

Self-absorbed, vapid, posing, gratuitously obscene—to paraphrase one of wildly-overrated Springsteen-wannabe John Cougar Melonhead’s shitty, melodramatic songs, ain’t that Amerika v2.0.

What a fucking disgrace. Or, to paraphrase the voiceover chant from the ’68 Democrat Convention riot in Chicago, which Chicago Transit Authority used as the intro for track 1, side 4 of their entirely brilliant CTA debut album: The whole world’s laughing! The whole world’s laughing! The whole world’s laughing!

Meh, not their best song by any means. Here’s a much better one from the same LP, featuring a characteristically blistering showcase performance from their late guitarist Terry Kath.

Now that’s some gooood squishy right there. Eat your heart out, John Cougar Melonhead.

Update! OH HOLY CRAP! A live version of “I’m A Man” just popped up in the ol’ YewToob feed, in which Kath is just positively smoking hot. I’ma have to switch the vid to that one. WORK that wah, Terry!

Updated update! Fuck all that Biden/tranny freakshow noise, here’s a backgrounder on the great Terry Kath as a palate-cleanser, for those of you who might not know much about the guy.

Terry Alan Kath (January 31, 1946 – January 23, 1978) was an American guitarist, singer and songwriter, best known as a founding member of the rock band Chicago. He played guitar and sang lead vocals on many of the band’s early hit singles. He has been praised by his bandmates and other musicians for his guitar skills and Ray Charles–influenced vocal style, and was said to be one of Jimi Hendrix’s favorite guitarists.

Growing up in a musical family, Kath took up a variety of instruments in his teens, including the drums and banjo. He played bass in a number of bands in the mid-1960s, before settling on the guitar when forming the group that became Chicago. His guitar playing was an important component of the group’s sound from the start of their career. He used a number of different guitars, but eventually became identified with a Fender Telecaster fitted with a single neck-position humbucker pickup combined with a bridge position angled single-coil pickup and decorated with numerous stickers.

Kath struggled with health issues and drug abuse towards the end of the 1970s. He died in January 1978 from an unintentional self-inflicted gunshot wound to the head. The bereavement tempted Chicago to disband, but they ultimately decided to resume as is signified by their memorial song “Alive Again”. To commemorate his musicianship, they issued the 1997 album The Innovative Guitar of Terry Kath. In 2016, Kath’s daughter Michelle Sinclair released the documentary The Terry Kath Experience, which chronicles his life and Chicago’s early years.

Kath was born to Raymond Elmer “Ray” (1912–2003) and Evelyn Meline Haugen Kath (1916–1982) on Thursday, January 31, 1946, in Chicago, Illinois. He had an older brother, Rod Kath, was raised in the Norwood Park neighborhood of Chicago, and attended Taft High School.

His brother played the drums and his mother played the banjo, and Kath attempted to learn these instruments too. He acquired a guitar and amplifier when he was in the ninth grade, and his early influences included The Ventures, Johnny Smith, Dick Dale, and Howard Roberts. He was later influenced by George Benson, Kenny Burrell, Mike Bloomfield, Eric Clapton, and Jimi Hendrix.

Unlike several other Chicago members who received formal music training, Kath was mostly self-taught and enjoyed jamming. In a 1971 interview for Guitar Player, he said he had tried professional lessons but abandoned them, adding “All I wanted to do was play those rock and roll chords.” His father wanted him to have a steady career, but he decided he would prefer a career in music.

Self-taught, a multi-instrumentalist, with all the right musical influences: all pretty typical of the very best guitar players, actually. The bit about him being one of Hendrix’s faves isn’t just “said to be,” by the way; Hendrix himself is known to have said that very thing many times, along with his oft-professed admiration for Billy Gibbons and Mountain-man Leslie West. Yes, yes, yes, stop yelling, I’m gonna embed that one too.

One of my all-time favorites for sure, and a bona fide classic.

Update to the updated update! And just like that, down a Leslie West rabbit hole I go.

Known far and wide as a true monster of the ever-elusive, almighty tone, West produced one of the boldest, most perfect sounds in rock using only a single-P90, single-cut, El Cheapo Gibson LP Junior and a pair of extensively re-jiggered Sunn (ick!) PA amps which, according to West, had formerly belonged to Jimi Hendrix. Thoughts on the subject, from the acknowledged master:

In acknowledging the guitarist’s monumental influence, nearly everyone sooner or later (and often immediately) seizes upon the same word: tone.

The sound that West achieved with a P-90-loaded Gibson Les Paul Junior has been consistently cited as one of the most distinctive in rock music. His sonic signature is a thick, singing tone that has both weight and depth, and a vibrato that can sustain a note for days.

His phrasing is all about economy. The man wasted not a single note to overplaying, or tried to dazzle with bombastic flurries of speed.

As he said many times, his aim was to create solos that could be sung, and music that moved the heart and soul, rather than impressed minds with its technical prowess.

At the dawn of the age that brought forth a new breed of powerhouse guitar hero, his guitar playing immediately resonated with listeners hungry for unique voices.

West always said he wasn’t a fast player – all that mattered to him were tone and a desire to have a vibrato like a classical violinist.

As he said in 1987, “I’m no great guitarist technically, but you wanna know why people remember me? If you take a hundred players and put them in a room, ninety-nine of ’em are gonna sound the same.

“The one who plays different…that’s the one you’re gonna remember. I learned that you should think about the song, think about the chords you’re playing behind. Most of my solos come right out of those chords. You play the notes within the chords and try to pick a melody from there.”

When it came to amplifying West’s gutsy approach, a happy accident led him to finding the perfect fit.

“It was just two Sunn stacks with the [Sunn] Coliseum PA heads,” he explained. “They were Hendrix’s old amps, re-Tolexed and reconed.

“See, the PA heads had those four inputs and a master volume, which started the distortion thing for me. This was years before guitar amps had master-volume controls. The head had huge transformers and gigantic KT88 tubes, and the cabinets were loaded with Eminence speakers, which never hurt your ears even with the treble all the way up.”

It was that amp that appeared on 1970’s Climbing!, Mountain’s debut album, which included the song that would forever be linked with West: his raging hard rocker, “Mississippi Queen.”

“I’d turn the mic volume and the master all the way up, and overdrive the thing like crazy,” he said.

That’s putting it mildly, I’d say.

Back in my own NYC days, West had a weekly gig at some little venue or other, can’t remember which one it was. My two greatest regrets about what were some of the absolute best years of my life were that I never did go to see him, and same-same with Les Paul himself, who in those days played every Monday at the Blue Note, I believe it was (nope, it was Fat Tuesdays). Les was famously in the habit of hanging around after the last set to autograph Les Paul guitars for anyone who brought one in; like the fool that I am, I always told myself “Yeah, I’m gonna get up there and get my TV-model LP signed soon,” but I never did. And now I never will, alas.