Gigs Suffer from Noise Complaints
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The Stones Three Blind Mice CD / LP
The Stones Three Blind Mice CD / LP FNCT018 // RELEASE DATE: March 03, 2015 Of the four bands represented on the Dunedin Double EP, the early 80’s Flying Nun release that introduced that city’s fledging indie sound to the wider world The Stones are probably the least remembered and least appreciated. The Stones were birthed by singer/guitarist Wayne Elsey’s decision to quit ‘Bored Games’ to ‘start a band that sounded like The Clean. Their début came on the 25th April 1981 at an Otago University a gig headlined by Bored Games (Shayne Carter) and new comers The Chills and Verlaine’s (a line up which in retrospect, would make any The Stones CD/Download Flying Nun/low fi pop fan drool). Elsey’s vision for a band that sounds Three Blind MIce Bonus Live Tracks like The Clean didn’t really come to fruition. The Stones were to bright to not to create their own sound one wrapped in braggadocio and Gunner Ho It’s a Shame swagger. Fast, aggressive guitars, driving rhythm section with a knack See Red for fluid pop structures. Charismatic and smart The Stones had the abil- Mother/Father We Live ity to sound completely empathetic and threatening all at once. At the Café Everywhere Man Something New As all good things, The Stones were not to last, releasing one full Final Days Diamond Dirt length ‘Another Disc Another Dollar’ before breaking up two years in. Down and Around Think About It The band were part of the wave of Dunedin bands popular around Funky Conversations the country and mystery to the middle. -
Nz Film Productions, 1990-2016
NZ FILM PRODUCTIONS, 1990-2016 PRODUCTION TITLE PRODUCERS SCRIPT DIRECTOR DOP PROD. DESIGNER COSTUME DESIGNER EDITOR SOUND DESIGNER 43,000 FEET * Feature 2012 Amber Easby Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley Heather Lee 800 WORDS * Teleseries 2015-2016 Chris Bailey James Griffin Mike Smith Fred Renata Gary Mackay Sarah Aldridge Eric De Beus John Holmes Maxine Fleming Pino Amenta Dave Garbett Greg Allison Paul Sutorius Kelly Martin Timothy Balme Michael Hurst Gary Hunt Julie McGauran Kate McDermott Murray Keane Chris Hampson Natalie Medlock Sarah-Kate Lynch 50 WAYS OF SAYING FABULOUS * Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes Feature 2005 6 DAYS * Feauture 2016 Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Liz McGregor Dan Kircher 7 DAYS * Teleseries 2009 Jon Bridges Josh Samuels Nigel Carpenter Luke Thompson Jason Pengelly A SONG OF GOOD * Feature 2008 Mark Foster Gregory King Gregory King Virginia Loane Ashley Turner Natalija Kucija Jonathan Venz ABANDONED * Telemovie 2014 Liz DiFiore Stephanie Johnson John Laing Grant McKinnon Roger Guise Jaindra Watson Margot Francis Mark Messenger ABERRATION * Feature 1997 Chris Brown Darrin Oura Tim Boxell Allen Guilford Grant Major Chris Elliott John Gilbert David Donaldson ABIOGENESIS * Feature 2012 Richard Mans Michelle Child AFTER THE WATERFALL * Feature Trevor Haysom Simone Horrocks Simone Horrocks Jac Fitzgerald Andy McLaren Kirsty Cameron Cushia Dillon Dick Reade 2010 ALEX * Feature -
Download the 2019 Programme
15-28 October 2019 hbaf.co.nz Welcome! This year we celebrate our fifth anniversary, so This is to highlight just a few of the exciting it seems fitting that we step it up a gear or two offerings we have this year… so grab some and bring you amazing Kiwi legends along with friends, get comfortable and take your time to outstanding local and international acts, with a go through the programme together and book programme featuring blues to burlesque, circus your favourites. to comedy, cabaret to Ceilidh, dance to delight, This year’s challenge for you is to bring theatre to thrill, and a fantastic selection of literary someone new, who hasn’t been to the festival treats in our Readers and Writers programme. before and share the joy of discovery with them We have the beautiful, 1930s Victoria Spiegeltent – they will thank you for the experience. as our hub, offering a unique experience in an The Festival is firmly cemented in the incredible atmosphere, with increased seating Hawke’s Bay calendar and is only possible capacity and better sightlines. Our fabulous Festival because of the generous support of Hastings Garden is there for you to relax with local food and District Council who provide our core funding, wine before, during and after the shows. alongside Creative NZ, the team at Harcourts The festival kicks off with our flagship show, (who have supported the festival from the Limbo, easily the biggest, boldest and greatest beginning as our naming rights sponsor), show to be included in our festival line up to date. -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
Jorgensen 2019 the Semi-Autonomous Rock Music of the Stones
Sound Scripts Volume 6 | Issue 1 Article 12 2019 The eS mi-Autonomous Rock Music of The tS ones Darren Jorgensen University of Western Australia Recommended Citation Jorgensen, D. (2019). The eS mi-Autonomous Rock Music of The tS ones. Sound Scripts, 6(1). Retrieved from https://ro.ecu.edu.au/soundscripts/vol6/iss1/12 This Refereed Article is posted at Research Online. https://ro.ecu.edu.au/soundscripts/vol6/iss1/12 Jorgensen: The Semi-Autonomous Rock Music of The Stones The Semi-Autonomous Rock Music of The Stones by Darren Jorgensen1 The University of Western Australia Abstract: The Flying Nun record the Dunedin Double (1982) is credited with having identified Dunedin as a place where independent, garage style rock and roll was thriving in the early 1980s. Of the four acts on the double album, The Stones would have the shortest life as a band. Apart from their place on the Dunedin Double, The Stones would only release one 12” EP, Another Disc Another Dollar. This essay looks at the place of this EP in both Dunedin’s history of independent rock and its place in the wider history of rock too. The Stones were at first glance not a serious band, but by their own account, set out to do “everything the wrong way,” beginning with their name, that is a shortened but synonymous version of the Rolling Stones. However, the parody that they were making also achieves the very thing they set out to do badly, which is to make garage rock. Their mimicry of rock also produced great rock music, their nonchalance achieving that quality of authentic expression that defines the rock attitude itself. -
The Sound of Dunedin's None Gallery // Page 20 Painting
THE SOUND OF DUNEDIN’S NONE GALLERY // PAGE 20 PAINTING THE TOWN // PAGE 23 THE NZ INTERNATIONAL FILM FESTIVAL // PAGE 26 ISSUE 18 // 3 AUG 2015 CRITIC.CO.NZ OTAGO DIVESTMENTS // EXECRABLE // FIRE WALKERS // DESIGN SCHOOL // GRANDMA SPINS A YARN // ICT GRAD SCHOOL // FIRE WALKERS // INTERNATIONAL NEWS // NEWS IN BRIEFS // POLITICS // SPORTS // FLUKE INTERVIEW // ISSUE 18 : 3 AUGUST 2015 FEATURES 20 DUNEDIN’S NONE GALLERY A short walk up Stafford, a street lined with disused- warehouses and an old furniture distributor, one will find None Gallery. It is a residential studio and gallery complex that is a mainstay of Dunedin’s alternative sound subculture and independent arts. BY GEORGE ELLIOT 23 PAINTING THE TOWN 23 The work on our walls is sparking more creative expression and engaging the Dunedin public. “We are consciously targeting places that are out of the way for people today, like car parks and demolished buildings. These areas used to be busy. They were once the hub of the city and things change, but there is still something special there.” BY JESSICA THOMPSON 26 NZ INTERNATIONAL FILM FEST Films are about looking through another person’s eyes, entering their life and seeing how their world operates. The NZIFF offers multiple opinions, visions and lives for us to enter — ones we wouldn’t normally 20 26 see with blockbuster films. BY MANDY TE NEWS & OPINION COLUMNS CULTURE 04 OTAGO DIVESTS 38 LETTERS 30 SCREEN AND STAGE 05 EXECRABLE 42 SOMETHING CAME UP 32 ART 06 NEWS 42 DEAR ETHEL 33 GAMES 10 INTERNATIONAL NEWS 43 SCIENCE, BITCHES! -
Dunedin Sound Sources at the Hocken Collections
Reference Guide Dunedin Sound Sources at the Hocken Collections ‘Thanks to NZR Look Blue Go Purple + W.S.S.O.E.S Oriental Tavern 22-23 Feb’, [1985]. Bruce Russell Posters, Hocken Ephemera Collection, Eph-0001-ML-D-07/09. (W.S.S.O.E.S is Wreck Small Speakers on Expensive Stereos). Permission to use kindly granted by Lesley Paris, Norma O’Malley, Denise Roughan, Francisca Griffin, and Kath Webster. Hocken Collections/ Uare Taoka o Hākena, University of Otago Library Nau Mai Haere Mai ki Te Uare Taoka o Hākena: Welcome to the Hocken Collections He mihi nui tēnei ki a koutou kā uri o kā hau e whā arā, kā mātāwaka o te motu, o te ao whānui hoki. Nau mai, haere mai ki te taumata. As you arrive We seek to preserve all the taoka we hold for future generations. So that all taoka are properly protected, we ask that you: place your bags (including computer bags and sleeves) in the lockers provided leave all food and drink including water bottles in the lockers (we have a researcher lounge off the foyer which everyone is welcome to use) bring any materials you need for research and some ID in with you sign the Readers’ Register each day enquire at the reference desk first if you wish to take digital photographs Beginning your research This guide gives examples of the types of material relating to the Dunedin Sound held at the Hocken. All items must be used within the library. As the collection is large and constantly growing not every item is listed here, but you can search for other material on our Online Public Access Catalogues: for books, theses, journals, magazines, newspapers, maps, and audiovisual material, use Library Search|Ketu. -
Media Release Strictly Embargoed Until 7.30Pm Wednesday 25 November 2020
Media release Strictly embargoed until 7.30pm Wednesday 25 November 2020 AUCKLAND ARTS FESTIVAL 2021 FULL PROGRAMME LAUNCHED Te Ahurei Toi o Tāmaki | 4-21 March 2021 The full programme for the Auckland Arts Festival/Te Ahurei Toi o Tāmaki (AAF) 2021 has been launched. The 100% Aotearoa line-up was revealed tonight in a video streamed on AAF’s Facebook page and YouTube channel, following an initial reveal on 11 November that announced Taonga Moana, Pūmanawa, and Che-Fu & The Kratez, along with the Festival’s 2021 theme, Aroha. After cutting its 2020 season short due to COVID-19, in 2021 the Festival will take place between 4 and 21 March 2021 and feature a selection of more than 70 multi-art shows and events at theatres, galleries and unique indoor and outdoor venues across Tāmaki Makaurau. Event details can be found on the Festival’s brand new website (https://www.aaf.co.nz/), including everything from dance to theatre, live music to comedy, visual and digital art, talks and debate, community participation projects and more. The programme includes a wide-ranging series of free and ticketed shows, installations and exhibitions designed to unify, uplift and inspire. Early Bird discounts are available on most events until Thursday 31 December 2020. The Festival has commissioned world premieres of several new works, resuscitated some that were cancelled in 2020 due to the Covid-19 pandemic, and will provide employment for over 1,000 artists and 150 production and administration staff. All 2021 activity falls into three strands related to the overarching theme of Aroha: aroha ki ngā kōrero – the respect we hold for our stories; aroha ki te tangata – kindness, compassion and goodwill toward people; and aroha ki te taiao – our love and care for our natural environment – air, land and water. -
Place and Music: Performing "The Region" on the New South Wales Far North Coast
University of Wollongong Research Online Faculty of Science - Papers (Archive) Faculty of Science, Medicine and Health 2009 Place and music: Performing "the region" on the New South Wales Far North Coast Christopher R. Gibson University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/scipapers Part of the Life Sciences Commons, Physical Sciences and Mathematics Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Christopher R.: Place and music: Performing "the region" on the New South Wales Far North Coast 2009, 60-81. https://ro.uow.edu.au/scipapers/1265 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Place and music: Performing "the region" on the New South Wales Far North Coast Abstract This paper draws on research conducted for over a decade on the musical cultures of the New South Wales Far North Coast, as a contribution to debates in geography and popular music studies on the links between music, place and articulations of cultural identities. Patterns of migration and economic restructuring over the last 20 years have transformed the Far North Coast region, with associated changes in the images conjured to describe the region – from those centred on dairying, fishing and sugar harvesting to those of a ‘lifestyle’ or ‘alternative’ region, with growth in employment in tourism, recreational services, ‘gourmet’ agricultural production, culinary delights, homewares retail and the arts. Music has been a constant presence in the region throughout generations, but became much more pronounced after significant counter-urban migrations to the area began in the 1970s. -
APO Annual Report 2014
2014 Annual Report Auckland Philharmonia Orchestra Auckland Philharmonia Orchestra Contents Auckland Philharmonia Orchestra is the city’s leading performing 2014 Chairman’s Report 1 arts organisation, and Auckland’s only full-time professional 2014 Chief Executive’s Report 2 symphony orchestra. APO Concerts & Audience 4 In more than 50 mainstage performances annually, the APO presents a full season of 2014 Performance Highlights 5 symphonic work showcasing many of the world’s finest classical musicians. High- APO Premieres 2014 6 profile soloists in 2014 included percussionist Dame Evelyn Glennie, violinist Ning Feng, soprano Christine Brewer, and pianist Joanna MacGregor among many others. New Zealand Artists Performing We were also delighted to welcome conductors John Nelson, Giordano Bellincampi, with the APO 2014 6 Leo Hussain, Hans Graf, Paul Goodwin, and Stephen Layton, among others, to APO Development Report 8 complement the presence of Music Director Eckehard Stier. APO Connecting 2014 9 The APO was also proud to support both New Zealand Opera and the Royal New Sistema Aotearoa 2014 10 Zealand Ballet in their Auckland performances, and to work with the Auckland International Film Festival and Auckland Choral, among other organsiations. In Financial Overview 11 alternate years, the APO also works in partnership with Auckland Arts Festival and APO Personnel 12 Michael Hill International Violin Competition. APO Financial Statements 2014 13 Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive artists, and in 2014 performed with The Adults in an APO Supporters 2014 26 exciting concert in Aotea Centre. APO Sponsors 2014 28 Through its numerous APO Connecting (education, outreach and community) initiatives the APO offers opportunities to more than 20,000 young people and adults nationwide to participate in music, ranging from hip-hop and rock to contemporary and classical. -
Masters Thesis
http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. A MUSICOLOGICAL ANALYSIS OF NATURE’S BEST A thesis submitted in fulfillment of the requirements for the degree of Master of Arts at The University of Waikato by NICHOLAS BRAAE The University of Waikato 2012 Abstract Academic research on New Zealand popular music has primarily been conducted from historical and cultural perspectives. While asking important questions, these sources have rarely engaged with the musical details of New Zealand popular music. This thesis is a musicological analysis of the 100 songs from the three Nature’s Best albums. The musical perspective complements the socio-cultural research on New Zealand popular music. The Nature’s Best project was instigated by Mike Chunn in 2001 to celebrate the 75th anniversary of the Australasian Performing Right Association (APRA). All songwriting members of APRA and 100 celebrities and critics were invited to vote for their ten favourite New Zealand popular songs. -
You Never Know Your Luck in the Big City…
YOU NEVER KNOW YOUR LUCK IN THE BIG CITY… A SHORT FILM BY JOE LONIE PRESS KIT LOGLINE SYNOPSIS An enigmatic young musician Honk if You’re Horny is a ribald comedy about tall stories and our bizarre becomes the captive audience for need to pretend to be something we’re not, as well as the folly of being too a crusty old cab driver’s dirty story quick to judge a book by its cover. on the taxi ride from hell! On a rainy night in Auckland city, an enigmatic young musician gets into a cheap, low-rent taxicab. The crusty old cabbie takes one look at this slick young man with his guitar case and chooses to think of him as an oversexed, rock and roll party animal. Trying to impress his passenger, the cabbie launches into a graphic recounting of a sexual misadventure he participated in “just the other night”. While it is obscene and highly inappropriate, the driver’s story is undeniably compelling, but as the details become increasingly more hilarious and outrageous, it gets harder to believe. The passenger has no choice but to listen, and hold on for dear life, as he becomes a captive audience for the driver’s obscenities during a hair-raising cab ride from hell, including a high-speed cop chase and a frightening run-in with a car-load of homicidal Westies! The passenger grits his teeth and toughs it out, wondering how he can get back at the driver for polluting his ears and putting him through such a life-threatening ordeal.