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Flying Nun & Captured Tracks
FLYING NUN & CAPTURED TRACKS TOY LOVE TOY LOVE 2xLP FNCT001 // This 28-track double LP compilation collects all the A & B sides of the three Toy Love singles, plus the best demos from 1979, a live track and even a radio jingle - all mastered for vinyl, straight from the original analogue tapes. Housed in a gatefold jacket, a 24 page booklet accompanies the release with photos, ephemera and commentary from Toy Love. While, the back cover features a sketched cartoon of an early Toy Love flyer drawn by Chris Knox. Evolving from Dunedin band, The Enemy, Toy Love had a brief but bright existence between January 1979 and September 1980. Invoking the ghost of punk and the melody and creativity of 60-70s pop, they were peerless at SIDE ONE - The Singles a time when New Zealand music was still struggling to imprint itself on the 1. Squeeze 5. Bride Of Frankenstein national consciousness. They became a model for local musicians around 2. Rebel 6. Amputee Song the country and inspired the birth of Flying Nun Records – a label which 3. Don’t Ask Me 7. Good Old Joe 4. Sheep many from the band went on to work with, including Chris Knox and Alec Bathgate with the Tall Dwarfs and Paul Kean with The Bats. Then, in 2005 SIDE TWO - 1979 Demos Flying Nun released Cuts, a double CD anthology of Toy Love material. 1. Squeeze 5. Death Rehearsal 2. Sheep 6. Unscrewed Up Electrifying and unmissable, Toy Love made an impact on all who saw then, 3. I Don’t Mind 7. -
Christchurch and Dunedin
PART 4 PLACE STUDIES II: CHRISTCHURCH AND DUNEDIN 9781442516328_CH13_175-194.indd 175 14/01/11 10:15 AM CHAPTER 13 Flat city sounds redux: a musical ‘countercartography’ of Christchurch Tony Mitchell 1950s southern gothic: picnicking with the devil In the 2009 issue of New Zealand Geographer devoted to Christchurch, Kevin Glynn and Julie Cupples begin with what has become a regular reference point for the city’s ‘dark side’. Former splatter-horror director Peter Jackson’s 1994 filmHeavenly Creatures deals with the infamous Parker-Hulme murders that took place in the Cashmere hills just outside the city in 1954, and: exquisitely contrasts the official face of respectable Christchurch, site of the murder, with many of the city’s darker undercurrents, its overt and covert class, sexual and racial hierarchies and oppressions, and its postcolonial psychodynamics of Anglophilia and repression. (2009: 1) Heavenly Creatures portrays the deep contradictions inherent in the Cathedral city, Flat city, ‘city that shines’, more commonly known as the ‘Garden city’ – which won an award for the ‘garden capital of the world’ in 1996, ahead of more than 600 competitors (Glynn, 2009: 9). Its surface veneer of British gothic revival architecture, numerous churches and conservative heritage politics, and its underbelly of violence, crime, murder, mayhem and transgressive youth activities come together in the film’s portrayal of a crime in which, as Redmer Yska has claimed ‘what really rankled [among adults] was that the girls had asserted their separateness from the adult world’ (1993: 63). The Parker-Hume murder provoked New Zealand’s first post-World War II moral panic, and its first public (and international) case of juvenile delinquency, drawing comparisons with the Leopold and Loeb ‘intellectual murder’ in the USA 30 years earlier (Gurr and Cox, 1960: 5). -
SCOPYRIGHT This Copy Has Been Supplied by the Library of The
THE UNIVERSITY LIBRARY PROTECTION OF AUTHOR ’S COPYRIGHT This copy has been supplied by the Library of the University of Otago on the understanding that the following conditions will be observed: 1. To comply with s56 of the Copyright Act 1994 [NZ], this thesis copy must only be used for the purposes of research or private study. 2. The author's permission must be obtained before any material in the thesis is reproduced, unless such reproduction falls within the fair dealing guidelines of the Copyright Act 1994. Due acknowledgement must be made to the author in any citation. 3. No further copies may be made without the permission of the Librarian of the University of Otago. August 2010 "IT'S OK, IT'S ALL RIGHT, OH YEAH" THE 'DUNEDIN SOUND' ? AN ASPECT OF ALTERNATIVE MUSIC IN NEW ZEALAND 1978-1985 by Craig Robertson A Long Essay presented in partial fulfilment of the requirements for a Bachelor of Arts (Honours) degree in History at the University of Otago Dunedin New Zealand 1991 ACKNOWLEDGEMENTS As I lived in Dunedin during the period of this essay it is perhaps appropriate to acknowledge my links with this topic. I first became interested in the music of the so-called 'Dunedin Sound' bands in 1982 when as a twelve year old I bought a copy of The Clean's 'Great Sounds. Great', after having heard a track off it on Radio New Zealand's nation wide Top Ten. Over the next few years, going to Roy Colbert's second hand record shop every Friday after school, I began religiously buying every record by a Dunedin band that was released on Flying Nun. -
51Ilt Diverse Acts Emerge from Scottish City
$4.95 (U.S.), $5.95 (CAN.), .L3.95 (U.K.) IN THIS ISSUE $B?4JCCVR ******XX 3 -DIGIT 908 $GEE4E11740M0990748 002 0687 000 Luaka Bop BI MAR 2396 1 03 MONTY GREENLY 3740 ELM AVE APT A Crosses -3402 LONG BEACH, CA 90807 Borders With New -C'O`'l"rr. Zap Mama Album THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT APRIL 2, 1994 ADVERTISEMENTS Emerging Jazz Far From Spotlight, Glasgow Flourishes Artists Learn Diverse Acts Emerge From Scottish City BY THOM DUFFY The indie-dance vision of One Dove, 7 release in the U.S. on SBK /ERG Art Of The Deal the pure -bred pop of Superstar, the Records. Carol Laula has sold 7,000 - GLASGOW- During the past dec- sweet folk -rock of Carol Laula, the plus copies worldwide of her debut al- BY JEFF LEVENSON ade, bands as varied as Simple Minds, hard rock attack of Baby Chaos, the bum, "Still," for Iona Gold Records, NEW YORK -A rash of new sign- ings involving some of the most promising young artists in jazz is 51ILt changing the way major labels ap- the self tiled full ?.ngtt album feat_ ring "Here With Me' "Stay Right Here"' SUPERSTAR SLAM LAULA ONE DOVE "Just Like Summer "! Deacon Blue, the Jesus & Mary dance pulse of Slam -these are just a part of a Glasgow -based independent Chain, and Teenage Fanclub pro- few of the acts to bring a new sense record company that has significant- claimed the musical vitality of Scot- of promise to a music community far ly expanded its roster in the past year " Original pduction by Brian Mcenigst. -
Napster, Labels Face Off in Court, on Capitol Hill
MUST HEAR Napster, Labels Face Off In Court, On Capitol Hill Both sides in the digital music copyright oppose new technology, but sees Napster as debate recently squared off in Washington, •hindering the dissemination of music online. D.C. before the Senate Judiciary Committee, "How can we embrace anew format and sell our chaired by Sen. Orrin Hatch (R-Utah). music for afair price when someone, with afew Witnesses included Napster CEO Hank lines of code and no investment costs, creative Barry, MP3.com CEO Michael Robertson, and input or marketing expenses, simply gives it Lars Ulrich, the drummer for Metallica, who has away?" Ulrich asked the committee. been one of Napster's most outspoken critics. The Metallica drummer specifically advo- Ulrich emphasized that Metallica does not cated legislation to keep (Continued on page 10) LUCKY STARS Judge Won't Dismiss Suit Against Sony Cuts 500 Promoters, Agents Staffers Worldwide A federal judge lias ruled that an antitrust and civil Sony Music Entel Liniment has rights suit filed by black concert promoters against ahost of announced that it will lay off near- major booking agencies and concert promotion companies ly 500 employees at its offices can go forward. around the world, representing 3.7 Judge Robert Patterson Jr. of the United States District percent of the company's 13,500 Court for the Southern District of New York refused to dismiss workers. The layoffs will cut across the case, Rowe Entertainment, Inc. et al. vs. The William all labels and divisions. Morris Agency, Inc, et al. The suit was filed by five black The company said that it was promoters who allege that they were prevented from book- "redirecting its resources on a ing concerts by booking agencies and (Continued on page 10) wo rldwide (Continued on page 10) ZURDOK Chris Knox On The 'Beat' With 1`31 THIS New Solo Outing `J. -
Flat City Sounds: the Christchurch Music Scene
Flat City Sounds: The Christchurch Music Scene (C) 1997, Dr. Tony Mitchell, Humanities & Social Sciences, UTS. Presented At The IASPM Conference, UTS, July 1997 The importance of locality in music making is a subject which has been explored increasingly in popular music studies. In his essay "(Dis)located? Rhetoric, Politics, Meaning and the Locality", John Street (1995) breaks down the manifestations of locality in music making into five categories: industrial base, social experience, aesthetic perspective, political experience, community and scene. Scene, as defined by Will Straw (1991), refers to "that cultural space in which a range of musical practices coexist, interacting with each other within a variety of processes of differentiation, and according to widely varying trajectories of change and cross-fertlilisation." It can be argued that place-consciousness is an important source of musical identity, and although there are no clear or direct links between music and locality, local music practices, venues, recording studios, record labels and music retail and media outlets are important in providing indicators of community and difference, as well as building links with a global music culture. This paper examines the modalities of (predominantly rock) music making in Christchurch, a flat, green and very English South Island New Zealand city with a high youth suicide rate, which often suffers an inferiority complex in relation to its more internationally acclaimed southern neighbour Dunedin. A brief history of rock music in Christchurch will be given, with some focus on key figures such as Bill Direen, Roy Montgomery, Chants R&B, the Bats and the Renderers, the Failsafe record label, music venues and record stores, and references to Christchurch in various Kiwi rock songs. -
Un Stuck Band Posters from the Christchurch City Libraries Archives (1980–89)
Contents Un_stuck Band Posters From The Christchurch City Libraries Archives (1980–89) 2. Editorial 5. Colour Plates (Section 1) 9. Poster Research 29. Colour Plates (Section 2) 39. Contextual Essays Un_stuck Band Posters From The Christchurch City Libraries Archives (1980–89) 2 Editorial 3 my lecturer, I developed an interest in various histories and theories of graphic design. Knowledge that, if Real Graphic Max was still around, I’d be able to use to defend and validate the pop-cultural ephemera that I was interested LUKE WOOD in. Unfortunately Max isn’t still around, and times have Design changed anyway. It isn’t at all contentious anymore for students of graphic design to be so interested in the affects of popular culture. Graphic design, like any healthy discipline, remains in flux. What it does, how it does it, and what it’s called, are all questions we keep asking as culture and technology move on (for better or worse). With these sorts of questions in mind I have 1. Thanks to Noel Waite for pointing this out to occasionally set projects, like this one, that require my me some years ago. students to engage in primary historical research. Also, There are now a small handful of books that in part, because while histories of European, English do address components and American design are readily available, the history of graphic design history in New Zealand. Books of graphic design in New Zealand still largely resides like Paste Up and Cover in boxes and drawers of private homes, in peoples’ Up by Hamish Thompson, Joseph Churchward by heads, and in the archives of various institutions Over the last twenty-something years my life has gone David Bennewith, and around the country.1 Mark Cleverley by Jonty full circle. -
Towards a Social Ontology of Improvised Sound Work
“What true project has been lost?”: Towards a social ontology of improvised sound work. A dissertation submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Bruce Roland Russell BA (Hons), MA School of Art College of Design and Social Context RMIT University February 2016 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the dissertation is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Bruce Roland Russell April 2016 Acknowledgements The work submitted for this degree has greatly benefitted from the input and assistance of my supervisors, Dr. Philip Samartzis and Dr. Linda Williams, although any remaining flaws are my own responsibility. Throughout the years of work devoted to this my wife Kate McRae has been unfailingly supportive, and my three children have also had to put up with my ongoing unavailability, short temper, distracted manner and constant reading. I owe them all a great debt of gratitude. I have also been given some financial support for this work by my employers at CPIT, and should mention in particular mention the support given by my colleagues Tom Rainey, and before him, Dr. Jane Gregg. Contents Introduction .................................................................................. 3 Abstract .................................................................................... 3 Outline of research ......................................................................