Cherish the Ladies - The hills of New Zealand

A wee tribute to our place...

Open Letter to Michael Coppel Presents

Hello,

First, thank you for bringing such a brilliant concert to New Zealand - I saw Nick Lowe and Ry Cooder in Christchurch last Wednesday. My friends and I drove from Dunedin to see them and were not disappointed!

However, I and many of my friends were extremely disappointed to find we had paid more than twice the going rate for our tickets - simply, it appears, because we had the foresight to book early. Of course we are happy to pay what an artist is worth to see them but do not expect to be the victims of a Dutch auction and subsidise those who are not prepared to pay. Our seats were ok, not particularly special, set off to one side with some of the stage obscured by speaker stacks. People paying a lot less were nicely positioned centre forward.

Out of a sample of 20 people that I new at the concert, 5 of us paid $131 and the rest all paid $59. Indeed, many other friends around the country have declared that they paid $59 for tickets in Auckland and Wellington.

We are told by promoters time and time again that acts will not be brought to our smaller centres because we are reluctant to buy enough tickets early enough. It would appear that you are encouraging this behaviour, as I for one will not be in a hurry to book early in the future.

Yours sincerely

Mike Moroney

==============
And from others:


Here's my bitter tale. The day that bookings opened for the Auckland show the ticket price was $149. I just couldn't afford or justify that so completely gave up on the idea, despite Ry Cooder having been one of my musical heroes for as long as I can remember. On the day of the concert a friend casually mentioned that he had bought tickets that day for $59. I had other arrangements made that I couldn't undo, so missed out.


and:


Sorry to hear that, Mike. Pressure needs to be brought to bear upon promoters (and kept there), which it looks like you're doing. Also, letting them know that you've blogged this and dropped it onto your facebook, myspace, digg sites, etc, will get their attention. You don't want to come off sounding like you're whining, and you haven't here. Best to keep it impersonal and professional as you've done.

Eventually, with the help of this digital, bottom up media, booking promoters will have to standardise their methods, especially since live shows have now become, far and away, musicians' primary source of income. I can guarantee that if this gets back to Ry Cooder and his people (which it probably already has...), they'll let the promoters know, and will think twice about ever dealing with them again.

Not saying the promoters are crooks or anything, but they're at the least very badly managed and informed on the process. Trying to fill a half empty show after the fact, at the last moment, just doesn't cut it when the audience can let the rest of the world know immediately, via twitter, while they're STILL AT the concert.

I know I'll think twice about buying an expensive ticket online in advance, especially if I have to travel to see the show.

And the reply:::

to Mike Moroney

date27 November 2009 16:57
subjectRY COODER & NICK LOWE - CHRISTCHURCH

Hi Mike,


Thanks for your email in relation to the Ry Cooder & Nick Lowe performance in Christchurch.


We are glad to hear that you enjoyed the night along with many others.


In regards to your complaint about the discounted ticket price, this was a promotion to push our last release of tickets for this event. As the promoter, we are in our rights to change the ticketing price at any given time. This situation is very similiar to purchasing an airline flight at full price, to then see that same flight at a reduced price weeks after your purchase - just an example of many companies running similar promotions.


We understand that you are frustrated by the reduced price being implemented to this tour. However, we are unable to offer any form of compensation.


Kind Regards,
Daniel Hearn

--
Daniel Hearn
Michael Coppel Presents
PO Box 3030, Prahran East VIC 3181


www.coppel.com.au

If it looks like a folk club, sounds like a folk club...

Interesting view on taking over a venue. It's hard to get past a proprieter's core business of booze and food to let entertainment take its course.

in reference to: Not happy with existing venues? Make a new one. | Derek Sivers (view on Google Sidewiki)

Hamsterfest 2009 Review

Hamster Fest at Matamata

One of the beautiful things about going to a festival is bringing bits of it home with you.  I was driving up the long straight stretch of route 27 when I started belting out Mike Harding's Eketahuna with full lung capacity then realized he'd taken the tune from Yellow River. I don't know how much of the original he'd changed but some of the lines are classic like 'Eketahuna where the women are real with their bouffant hair and stiletto heels' This took me right back to growing up in the 50/60s and helping my mother to bouffant her hair before she put on her stilettos and went dancing with my father. It is always heart-warming to hear Mike at festivals bringing us back home with his collection of New Zealand songs. Although David Barne's rendition of Cohen's 'I lit a thin green candle' came a close second. I'd never quite got the full implication of this song until I heard his strident version. I think the black humour of it was a bit lost on the audience although I heard a few laughs. Perhaps being in love with people who make you act crazy is either out of folkie experience or too close to the bone to make one laugh.

It's always a pleasure for me to experience the continuing evolution of the music of Marion Arts. I sense a need for some kind of spiritual expression in her later songs, 'Love is a sacred river flowing down into love..... ' and the song titled My Sacred Heart gives the message of how precious love is yet love can beget love. I enjoyed being reminded too of what a fantastic musician Robbie Laven is with his bass playing enhancing everything Marion did. A musical partnership at its best.

It was a festival with no dramas I was told by one of the organizers and for a festival noted for its relaxed atmosphere everything was remarkably on time. Even the song-writers concert which had too many performers was neatly finished between two other acts on the Sunday. ( Two song-writers concerts next time please guys ) The weather was cooler than last year but there was still heaps of tent jamming and no one would have frozen in the averagely cool and fine weather. One thing I did notice was the Ceilid exuded a strong odor of sweat and beer as did the home brew unaccompanied session. It took a few deep breaths of cool night air to enter these events but once inside the music and dancing were worth it.

I always like the way the final concert includes a few standouts from the blackboard sessions. This year we were blessed with two dynamic young men whose names I did not find out but who referred to themselves as the second best shanty group, and Erin, the teenage performer of the weekend with her passionate version of Wild Mountain Thyme.

Judith McNeil (from her blog: http://judithjazz.spaces.live.com/)

Canterbury Folk Festival Easter 2009 - a birds eye view

Way back in the day's on yon (1991) I went to my first Canterbury Folk Festival at Loburn. It's a festival still fondly remembered and discussed for the rich diversity of talent and the activities of all who braved the sunny clear days and the wintry Ice cool nights (which of course is a rather good excuse for the imbibing of the well known elixir Laphfroig, who cares about the spelling, it's like an internal hottie when you need it).
Anyway, this years festival was wonderful and as always the incredible weather during the day meant that some chairs were empty in the afternoons as there were water holes and adventure playgrounds and just purely 'waking up and dressing' activities to attend to. Not to mention the brilliant impromptu jams that roll out every second by those diehards who literally live in the forest and miss most concerts in favour of their own excellent music!
Andrew White was one of our superb guests line up. He was the first MSG I fell in love with at Loburn, this was a great time to recollect just how much his music has been an integral part of my folk music life. His album 'Pray For Rain' is my desert island pick, his live performances are a treasure and I'm completely biased as ever.
The second MSG I was to fall for immediately (fickle eh) at Loburn was the emerging, engaging and utterly delectable music of Owen Hugh, his fingers shook so badly that it was impossible not to notice but he rocked the house with his nylon strings at the time. I hear he lives in Auckland and it's about time he got himself a gig at the Christchurch Folk Club so we could all swoon again.
Speaking of which, it's about time we toured more NZ'ers at our clubs (read 'I'm about to need gigs all over the North Island I'll be in touch soon').
Back to Easter - Graham Wardrop in a new line up with Naomi Ferguson launched their first album together which is an eclectic choice of folk songs we all know and adore sung with the utmost clarity and perfection by Naomi with Graham's great guitar work complementing every note.
There were some visiting Bluegrass players from Auckland who came along and reckoned our festival is pretty damn impressive and who were delighted to be invited to perform in the final concert, which was a delight for us all, the sound of banjo on stage is quite a rarity in these parts you know. Bicycle tires aside, Michael Young and his merry band will be back- you promised didn't you?
I'm a huge fan of Jon Hooker, James Wilkenson and Denny Stanway so I can't say anything about their concerts except I loved their Saturday night performance. There is nothing to compare in NZ with this line up, I'm so proud of them and just wish there was more and more opportunity for them to play and be extremely well paid for the rest of their lives and all musicians of their ilk. They are so good.
I have a partner who isn't fond of diddley but no fear we caught some of the finest acts from overseas and innerseas. Can't say much as I was probably preoccupied alot of the time getting hot water bottles for those that could no longer stand up etc.
Lastly there is nothing on earth that can explain the 'Silver Beaver Lodge' whose theme this year was Fawlty Towers. Pas Possible!! Those French maids costumes and Mrs Fawlty appeared in many guises and raucous laughter could be heard at the end of the field and across the river.
Oh and apart from some badly sung accapella at midnight til 3 after the final concert (there were some excellent harmonies so long as the key was friendly) what a great festival.
Thanks to the committee and volunteers for a really special time. We know it only happens because year after year you know when and how to water the seeds to make the flowers grow.. Some of us can't raise a house plant. Your dedication is appreciated and revered. Even tho you probably heard me blabbing my mouth off about how there is nowhere warm to play after the concerts (read heated) that's central. The trouble is I can drink to keep warm but then I can't sing or play guitar except badly........... Also because of my antics in the bedroom wrapping my vocals and guitar around the bunk bed step ladders, I got Merv out of bed in his pyjamas and that's not something I want to repeat even tho they were winsiette and quite fashionable..
To think that the original idea for attending the folk festival at Loburn was because the pubs were closed all Easter in those days and drinking to celebrate Jesus was frowned upon.
Keep an eye out over the next century for the flowering orchard we planted before departing the site, blackboy peaches and walnuts down by the BMX track where the kids play.. not on the track, beside..
Also what was that fire George had burning in the brazier? Iillegal by the committee (but the committee were all in bed by then, not together) but condonned by the park ranger who simply acknowledged the fact that it was probably only - 1 degree and probably agreed campers should avoid hypothermia. Lovely how youth can talk their way up a gum tree and sit on the end of the furtherest branch without falling.....
Kind Regards,
Jan Elliott
Canterbury
New Zealand

Bards, Ballads and Bulldust Festival

Easter weekend 10 - 12 April 2009
The beautiful high country town of Naseby is presenting the 4th Bards Ballads & Bulldust Festival at Easter 2009.
       www.kiwifolk.org.nz/festivals/BBB/index.htm
The weekend activities will be presented by 'Tui Award' winning high country balladeer, Phil Garland and based around the historic Ancient Briton Pub, which is hosting the event. Festival goers will be treated to some top quality Kiwi Country / Folk music and bush poetry relevant to the New Zealand High Country. As well as being home to Ross 'Blue Jeans' McMillan, one of the finest bush poets in the country, the Naseby festival will also play host to a trio of bush balladeers from across the Ditch.

The Bards, Ballads & Bulldust festival is the only one of its kind in the country, where the emphasis is on the spoken word in the form of bush poetry, which has a huge following throughout Australia. Bush balladry has been an integral part of our national heritage since the 1890s, but its profile has remained small, going largely un-noticed and un-recognised until the birth of Bards Ballads & Bulldust. Our bush poets are finally getting some of the accolades they richly deserve thanks to Naseby and the Bards, Ballads & Bulldust Festival.

Naseby (2000 feet above worry level) is the historic capital of the High Country and home to curling. Where better to experience high country life at its exhilerating best. Visitors can see a town changed little from the earliest beginnings of the Otago goldrush, whilst at the same time visit wonderfully preserved and historic buildings set amidst some of the oldest gold diggings in Central Otago.

2009 featured guests include:-

• Milton Taylor     - Highly entertaining award winning bush balladeer from Australia returns by popular demand.
  
• Melanie Hall     - Acclaimed bush poetry reciter from Australia
  
• Suzie Carcary   - 2008 champion prize winning bush poet from NSW. Originally of Scottish ancestry & respected singer of Scottish songs.
  
• Marcus Turner  - Mere words cannot describe this brilliant singer/songwriter & multi instrumentalist from Dunedin
  
• Martin Curtis    - Highly acclaimed and popular Kiwi reciter & balladeer from Cardrona
  
• Keith Scott       - Expat Maniototo oral historian and playright from Sydney.
  
• Ross McMillan  - Famed local poet & High Country balladeer.
  
• Des Styles        - Local goldfields poet from Naseby
  
• Roger Lusby     - Popular Kiwi balladeer and bush poet from Nelson.
  
• Dusty Spittle     - Legendary Kiwi story teller and country balladeer, who has just been inducted into the American old-time Country Music Hall of Fame.
  
• Basil Fitzpatrick - Popular performance poet from Chch
  
• Bush Telegraph  - Renowned Kiwiana bush band and barn dance specialists from Canterbury.
  
• Phil Garland      - Multi award winning folklorist, singer / songwriter and backblocks balladeer from Culverden.
  

Programme:-

• Good Friday - Welcome and informal gathering in the Ancient Briton Pub, Naseby with music session from Phil Garland & Bush Telegraph - a chance to join in!
  
• Saturday - Live performances throughout the day from invited poets and musicians in the Ancient Briton Pub.
  
• Saturday Night - Miners & Musterers Ball with Bush Telegraph in the Naseby Town Hall. Admission $20 - supper included.
  
• Sunday Morning - High Country breakfast with live poetry, songs & yarns from invited guests and local Syndicate farmers.
  
• Sunday - Live performances continue throughout the day from invited poets and musicians in the Ancient Briton.
  
• Sunday Night - Open poets night at the Ancient Briton, when invited guests will share the stage with all comers.
  
• Busking throughout the weekend in the Main street and outside the local cafe - hosted by Basil Fitzpatrick.
  

Admission free to most events.
Tickets to the Miners & Musterers Ball are $20 incl supper.
Well priced meals & snacks available from the town hotels and local Cafe throughout the weekend.
Accommodation should still be available at the two local hotels, two motels and the camping ground. Further accommodation can be found at Ranfurly only 20 minutes away. However early bookings are advised!

For further information contact the programme oganiser Phil Garland  pgarland@xtra.co.nz  or view the frestival webpage www.kiwifolk.org.nz/festivals/BBB/index.htm

ANCIENT BRITON HOTEL & MOTEL
Leven St, Naseby, Central Otago, New Zealand.
Phone 03 444 9992, Fax 03 444 8232,  E-Mail

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HE WAHI RA
Naseby, Central Otago, New Zealand.
Phone 03 482 2553, Fax 03 482 2553, Mobile 021 460 284,  E-Mail

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LARCHVIEW HOLIDAY PARK
Swimming Dam Rd, Naseby, Central Otago, New Zealand.
Phone/Fax 03 444 9904,  E-Mail

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MOUNTAIN VIEW ACCOMMODATION
13A Channel Road, Naseby, Central Otago, New Zealand.
Phone 03 444 9972, Fax 03 444 9972,  E-Mail

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ROYAL HOTEL
1 Earne St, Naseby, Central Otago, New Zealand.
Phone 03 444 9990, Fax 03 444 9704,  E-Mail

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THE OLD DOCTOR'S RESIDENCE LUXURY BED AND BREAKFAST
58 Derwent Street, Naseby, Central Otago, New Zealand.

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GLENSHEE PARK HOMESTAY
Tel: (03) 4449624  Fax: (03) 4449624 e-mail: mas.glenshee.park@xtra.co.nz

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SHORTLAND STATION  HOMESTAY.
Glenis & David Crutchley 114 Kyeburn Diggings rd, R.D.2 Ranfurly Ph (03) 444 9621 or 0800 375247. Fax: (03) 444 9610 d&gcrutchley@xtra.co.nz

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WEDDERBURN TAVERN
SH 85, Central Otago, New Zealand. Ph/Fax 03-444 9548 :: Email: wedderburntavern@clear.net.nz

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NASEBY TRAIL LODGE 
Corner Derwent & Oughter Streets, Naseby, New Zealand.
Phone 03 444 8374, Fax 03 444 8222, Reservations 0508 NASEBY (0508 627 329),  E-Mail

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DANSEYS PASS COACH INN
Phone/fax 64 3 4449048   Email: booking@danseyspass.co.nz

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Ranfurly Lion Hotel & Highland Wine Bar & Cafe
www.ranfurlyhotel.co.nz
10 Charlemont Street East, Ranfurly, Otago 9332. (03) 444 9140

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WEDDERBURN LODGE
State Highway 85 , Wedderburn, , New Zealand.
Lorraine- 03 444 9194, or Alison- 03 444 9124

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For cribs available to rent in Naseby contact jan@weddingarranger.co.nz

Ka Mate and the folk process.

From John Archer (www.folksong.org.nz) on the nz-folk list

I was rather astonished to find that the Waitangi Tribunal declared that Te Rauparaha composed Ka Mate, so I have dashed the following letter off to them.

 As far as I can see, Te Rauparaha evaded the avenging relatives of a group of travellers he had murdered by crouching in a pit with his head jammed into an old lady's crotch for an hour or so, and to ease his embarrassment when he was released, he simply repeated a well-known bawdy parody of Ka Mate.

Dear Tribunal members,

May I enquire as to what evidence you based your decision that “Ka Mate” was composed by Te Rauparaha? I have searched for evidence of this for seven years, but all sources I have found indicate otherwise.

A search of articles about Te Rauparaha in old newspapers back to 1843 finds no mention at all of his use of, or his connection with, Ka Mate.

 However in the Daily Southern Cross 23 March 1867 noted its use by Kereopa during the trial of the Rev Volkner at Opotiki, as “a song composed that could convey two exactly different meanings.”

 And in 1901 it was performed at Rotorua by Tairawhiti men at the welcome for Prince Albert as “an an ancient and universal war ngeri used to welcome illustrious guests.” (Wanganui Herald and  Lyttelton Times, June 1901)

Margaret Orbell (Maori Poetry 1967) noted the ancient usage of the Ka Mate haka. She said "te tangata puhuruhuru" (the hairy person) symbolised unified strength. Brave warriors are the "hairs on the legs" of a strong chief. She also explained that "Whiti te ra" (the sun shining) symbolised light, life, peace.

E H Schnackenburg of Kawhaia (J. Poly. Soc. 1948) was told that this haka formerly celebrated the triumph of Maui in capturing the sun, as an allegorical story telling how brave men could work together with a strong, ingenious leader to ensure peaceful times when "sunny days" (times of peace) were too short and "dark nights" (periods of war) were too long.

Sir John Grace (Tuwharetoa, 1959) tells how, on emerging from beneath Te Rangikoaea, Te Rauparaha chanted  “Kikiki kakaka kau ana! Kei waniwania taku tara...  Ko wai te tangata kia rere ure... Ka mate, ka mate...”

James Cowan (NZ Railways Magazine 1935) describes Kikiki Kakaka as “A very old chant, long antedating Te Rauparaha's period. It goes back several centuries...an ancient song of reunion and felicitation, often chanted at occasions of peace-making and such gatherings as marriage feasts."

Kikiki Kakaka was indeed very appropriate for wedding feasts, as it is a very factual account of a the sequence of emotions exerienced by a young lad in his first encounter with an amorous woman. (“I’m stuttering, trembling, naked! I’m brushed by your crotch... forbidden secrets are revealed... I’m trapped by your snare... who is this man with a thrusting penis? I’m investigating the hot moist depths... I’m dying! I’m dying! No, I’m really alive, a virile man who can make the sun shine for both of us.”)

Arthur Thompson (The Story of New Zealand, 1859) explains that “Singing, or the haka, was the amusement of village maidens and young lads on fine evenings... Most songs were accompanied with action...” And Arapete Awatere (1973) explained that "Most songs were composed as a group effort... Songs were reworked because the melody and symbolism of the words were liked, and to make the song appropriate to the new context."

It would appear that this is what occured when a group of flirtatious “village maidens” amused themselves by taking the old Ka Mate words and reworked their meaning into a bawdy sexual context by adding them to other sexually descriptive verses with which they teased bashful young men.

This old chant would have come to Te Rauparaha’s mind when he was trembling with fear in a kumara pit with old Te Rangikoaea’s crotch brushing his head. And I suggest that this is what he chanted when he was released from “the hot, moist depths.”

A song as complex and clever as Kakaka Kikiki would have taken a group of people a week or more to compose. A terrified, exhausted, humiliated and half-suffocated fugitive would have been unable to compose this off-the-cuff.

I have had most of the above information on my Ka Mate webpage for the past 7 years, and this page has been visited by approximately 400,000 people, but no one has sent me any claim or evidence of composition by Te Rauparaha.

Ngati Toa can rightfully claim ownership of the new meaning attached to Kikiki / Ka Mate, but I have found no evidence, either documentary or contexual, that Te Rauparaha was its composer. Instead, all the evidence points to Ka Mate being an ancient and universal haka with vivid symbolism conveying great wisdom.

Your recent decision has downgraded Ka Mate from a national literary taonga to a pathetic story of how a mass murderer on the run escaped justice.

Here's my two penneth worh - For years I've been led to understand that here in the south Ngai Tahu simply won't have anything to do with the Ka Mate haka because of its association with Te Rauparaha. They will never forget the atrocities he committed around the Mainland.

 

Bearing this in mind how can New Zealanders see this haka as something to unify the nation - particularly on sporting occasions, when not all Maori can agree on its use, let alone even think of unification.

 

The ABs deserve our support and thanks for coming up with something new andmeaningful to them!

 

Cheers

Phil Garland 

===

I've been waiting for the media to raise this question about the origins
of the haka, but it doesn't seem to be happening. Just had a couple of
comments to add to John and Phil's.

First, the case appears to develop a kind of indigenous copyright concept,
one that doesn't expire 50 years after the (supposed) composer's death.
This sets a rather interesting precedent: could decendants of non-maori
composers now also claim similar
copyright-forever-and-ever-until-the-end-of-time?

Second, has any other Maori iwi claimed ownership of "Ka mate" over the
time in which the Te Rauparaha authorship has been widely believed? If
not, this could indicate tacit acceptance of the Ngati Toa association.
Such a hybrid "Maori copyright" concept doesn't fit tidily into Western
legal frameworks, but nonetheless is perhaps acceptable to other Maori
iwi.

Third, agreed: Te Rauparaha sounds like a very frightening person. I grew
up on the Kapiti Coast and he was still spoken of with a bit of dread;
later I read some of the details of the musket wars, the torturing,
war-mongering etc. But Ngati Toa can thank him for saving their iwi from
extermination. When the tribe's original lands in Kawhia Harbour were
invaded by overwhelming Waikato forces, he successfully led them on a
fairly desperate journey down the North Island to relative safety in the
Horowhenua. Of course, in doing so he displaced others (Rangitane,
Muaupoko) from their lands - but he is by means exceptional in this
regard. Yes, he did some terrible things - but he seems to have mostly had
his tribe's interests at heart.

M D Brown

APRA's Anthony Healey on the Copyright Act

New Technologies Amendment – Section 92A

After some time in the pipeline the NZ government last year passed into law new copyright provisions with the stated goal of promoting innovation, creativity and economic growth.  The amendments are a range of initiatives that both support the needs of consumers by improving clarity around the law and modern practice and provide further certainty over the scope and enforcement of intellectual property rights.

Included in the legislation were significant provisions that benefitted consumers (format shifting rights), ISPs (safe harbour provisions or protection from liability for infringing material flowing along their lines) and provisions that in our view assist in educating consumers of the importance of copyright.

One of the key provisions in the Act for creators is the introduction of Section 92A which contains a requirement for internet service providers to have, and reasonably implement, a policy dealing with repeat copyright infringers in appropriate circumstances. This may include policies to disconnect repeat infringers in certain circumstances. 

APRA supports its implementation. 

Criticism has however been labelled at the legislation. Publicly I have indicated that such criticism is premature and that any opponents to the copyright legislation should wait until such time as the ISPs draft code of practice is released. We have been involved with the ISP working party in developing their Code since the outset and have had the opportunity to offer productive suggestions in the formulation of the Code. In our view the Code will dispel the issues that have been raised.

The Code of Practice put forward will ensure that education is the primary focus of notices given under Section 92. It will ensure that the level of evidence required to create such education notices in the first place is high, so high that there will be little chance of mistaken identity or misinterpretation. There will be safeguards. It will not be "guilt by accusation" and there will be opportunity for those that receive education notices on the basis of infringing material, to issue counter-notices in reply. The hysteria that has developed around the issue is unwarranted.

Of course I understand that APRA is a large organisation and the views of our members are diverse. There are a few members that do not share the Association's view of this process and they have made their opposition clear. However, the vast majority agree that we cannot sit idly by and watch the disintegration of these core crucial rights. Just because technology makes an act easy does not make it right. These are the views that we must represent.

Whilst I am not naïve enough to believe that this is the simple answer to all problems, I do believe that ISPs must play a part working towards a solution. This is a step towards a solution.


Anthony Healey
Director, NZ Operations APRA

Thanks Mike for broaching the matter of Section 92A.

This is an impending law change of great significance, far greater than it is receiving in the mainstream media at present. APRA certainly have their point of view on this issue, but it should be pointed out that this law was passed against a select committee's findings and very quietly and speedily last year - all of which are hardly the signs of good legislation. A similar planned law has just been tossed in the UK because it was deemed unworkable:
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article5586761.ece
Arguments in opposition (which APRA has painted as "mischievous") might be helpful for people to make up their own minds:
ISPANZ (ISP groups): http://www.scoop.co.nz/stories/BU0901/S00209.htm
LIANZA (Library Association): http://www.scoop.co.nz/stories/PO0901/S00143.htm
And an artist-run organisation: http://creativefreedom.org.nz/

2008 Folk Album of the Year

DIY ethic sees Otago trio scoop top Folk Award

An unsigned all-women three-piece from Dunedin has won the Tui for Best Folk Music Album of 2008. Delgirl’s self-released debut album ‘Two, Maybe Three, Days Ride’ was awarded the Tui at the Auckland Folk Festival in Kumeu tonight. The acoustic group describes its sound as “skiffily, folky, country, jazzy, bluesy roots music with a Pacific edge bordering a swamp”, and creates harmonies built around the double bass, guitar, ukuleles, banjo, snare and percussion. Delgirl is made up of Deirdre Newall, Erin Morton and Lynn Vare.

The trio formed eight years ago and released its debut album in November 2007. The track ‘Ride’ from the album has been selected by NZ Trade & Enterprise to feature on a music placement export disc entitled ‘New Zealand-New Music’ which is distributed to music supervisors in TV and film worldwide.

The other finalists were Cardrona-based singer-songwriter Martin Curtis for ‘Sea To Summit’ and the Hamilton County Bluegrass Band with ‘Way Down South’. Recording Industry Association of New Zealand (RIANZ) CEO Campbell Smith says: “Folk music is in good health in New Zealand. Delgirl’s album is highly deserving of a Tui – and another fine example of how some of this country’s best music and talent can do-it-themselves to create amazing work. “Dunedin has a history of fine musicians, and Delgirl shows that this talent and passion is alive across a range of genres.” The Best Folk Album award is part of the New Zealand Music Awards and it is the fifth year it has been presented at the Auckland Folk Festival. The festival is currently in its 35th year, and its 18th year at the Kumeu Showgrounds. Information about the event is available at www.aucklandfolkfestival.co.nz

The Tui for Best Folk Album 2008 is for recordings released between 16 November 2007 and 15 November 2008. The Folk category was introduced to the awards in 1984.
Recent previous winners of the Tui for Best Folk Album2005 - Lorina Harding for the album ‘Clean Break’2006 - Ben the Hoose (Kenny Ritch and Bob McNeill) for ‘The Little Cascade’2007 – Phil Garland for his 18th album ‘Southern Odyssey’.
Or refer to www.nzmusicawards (see history section).
Delgirl: www.delgirl.co.nz

About RIANZ: The Recording Industry Association of New Zealand Inc (RIANZ) is a non-profit organisation representing major and independent record producers, distributors and recording artists throughout New Zealand. RIANZ works to protect the rights and promote the interests of creative people involved in the New Zealand recording industry. Issued for the Recording Industry Association of New Zealand by Pead PR Contacts:Campbell Smith, RIANZ. Tel: 0-9-361 3967; Mob: 021-666 399; campbell@rianz.org.nzQuentin Reade, Pead PR, Tel: 09-918 5552, 021 847 908, quentin@peadpr.co.nz

Leonard Cohen in Wellington

From Dave Barnes:
Dear nz-folk,
Well, last night I had the delight of attending Leonard Cohen's concert in Wellington. I am happy to say it surpassed all my expectations.
Held in a venue reputed to have possibly the worst acoustics in the entire universe, LC and his crew produced an exquisite sound. That voice was captured and presented to us in all its impossible depths. Perhaps one key point was holding the volume to absolute perfection rather than blasting us out of our seats. We were there for his voice and his words, and we got them in style.
And the man himself - a nimbleness that belied his 74 years as he skipped onto the stage and as he knelt to add an emphasis to various of his lyrics. Supported by 9 outstanding musicians who played with consumnate skill to showcase his performance, he delivered a mix of the old favourites along with newer works. Perhaps some of his most poignant presentation, though, was in a couple of his renditions of his unadorned poetry - just him speaking it. That reminds you of the power of his lyrics.
Whilst I, being one of the long-time converted, would be totally happy with the man and maybe just one guitarist, I have to acknowledge that brilliance of the presentation undoubtedly allowed his work to be absorbed by a far wider audience. And they were there - from 1 month old to over 80, with all generations between being well represented. An emotive night - the newer numbers, and there were many that as a devotee particularly of his first two albums I was not familiar with, were wrapped with a warmth that made them instant old friends. And for those familar ones the power of his voice brought them oh so much closer.
He displayed a superb relationship with the crowd despite not undertaking a concert for some 15 years ("when I was a young man with a crazy dream")prior to this tour. And his warmth spilled over to the "handrail crisis" (the papers had obviously had not enough real news) with the comment "I suggested that they removed the handrail, thus removing the visual barrier [for the "vertically challenged" in the front row of the galleries], but the management felt that due to the nature of my work some of the audience might choose to hurl themselves over the edge". You certainly couldn't feel short-changed - an immensely long performance that would shame many younger acts, with an impressive range of encores. He thanked all of us for keeping his songs alive - I for one will endeavour to continue to do so!

Folk Tui finalists announced 2008

The finalists for New Zealand’s Best Folk Album of 2008 include an enduring crooner, a celebrated bluegrass band and a trio of relative new kids on the block.

Cardrona-based singer-songwriter Martin Curtis is joined by the evergreen Hamilton County Bluegrass Band and Dunedin trio Delgirl in the finalist line-up announced today 22 December by the Recording Industry Association of New Zealand (RIANZ).

Curtis’ ninth album of New Zealand folk songs is titled ‘Sea To Summit’ and features a range of new songs, several of which have already attracted local and offshore interest. ‘Sir Ed’ has been picked up by Kiwi Kids Songs for inclusion in its next release and the album is airing regularly on BBC Radio in Cardiff and Gloucester.

Currently Curtis’ main focus is on school work, presenting a programme for primary children about New Zealand history, wildlife, conservation and way of life. The work has also spread to regular visits to schools in the UK, where he illustrates his ‘Kiwi’ show with posters and pictures of New Zealand.

Formed in the 1960s, the Hamilton County Bluegrass Band continues its legacy of authentic bluegrass music with a Kiwi twist. The band’s fifth and latest album is ‘Way Down South’ which features 13 tracks. The title song is a Paul Trenwith original, recounting his first appearance at American festivals where he was accepted as true Southerner and ‘bluegrass musician.’ The Hamilton County Bluegrass Band is still the first and only New Zealand band to play The Grand Ole Opry in theUSA. Compared to Curtis and the Hamilton bluegrass quintet, the Delgirl trio is a relative newcomer.

Formed eight years ago the girls admit to playing “skiffily, folky, country, jazzy, bluesy roots music with a Pacific edge bordering a swamp”. ‘Two, Maybe Three Days Ride’ is the debut album from Delgirl’s Deirdre Newall, Erin Morton and Lynn Vare. ‘Ride’ from the album has been selected by NZ Trade & Enterprise to feature on a music placement export disc entitled New Zealand-New Music which is distributed to music supervisors in TV/Film worldwide.

Recording Industry Association of New Zealand (RIANZ) CEO Campbell Smith likes the spread of folk styles across the finalist artists. “Folk music has wide appeal in New Zealand across many different styles,” Smith says. “And, it’s great to see that we have three finalists with quite different approaches”. The Folk Music Tui for the best album of 2008 is to be presented on Sunday 25 January at the final concert of the Auckland Folk Festival. The Auckland Folk Festival is held in Kumeu (West Auckland) from the 23 to 26 January 2009 (http://www.aucklandfolkfestival.co.nz/)

NOTE TO EDITORS:The Tui for Best Folk Album 2008 is for recordings released between 16 November 2007 – 15 November 2008The Folk category was introduced to the awards in 1984. Recent previous winners of the Tui for Best Folk Album

2005 - Lorina Harding for the album ‘Clean Break’

2006 - Ben the Hoose (Kenny Ritch and Bob McNeill) for ‘The Little Cascade’

2007 – Phil Garland for his 18th album ‘Southern Odyssey’.Or refer to http://www.nzmusicawards/ (see history section).

Finalists’ websites

Martin Curtis: http://www.martincurtis.co.nz/

Hamilton County Bluegrass Band: www.myspace.com/hamiltoncountybluegrassband

Delgirl: http://www.delgirl.co.nz/

Davy Graham RIP

Davy Graham died yesterday (Monday UK time). Here's the Guardian report:
Legendary folk musician Davy Graham passed away on Monday. He was 68. Graham's manager Mark Pavey told the Guardian: "He was diagnosed with lung cancer only weeks ago and suffered a seizure at his home at around 3.30pm yesterday."
The guitarist was noted for his role in the 1960s folk revival, and his impeccable acoustic style influenced everyone from Bert Jansch to Paul Simon. Born to a Guyanese mother and a Scottish father, Graham took up the guitar in his teens and was later discovered by blues musician AlexisKorner. Korner once wrote that Graham was "a genuinely gifted guitarist who, rightly, refuses to let himself be fenced into one field of music."
His debut release in 1962, the EP 3/4 AD, contained his most famous composition, Anji. Inspired by his girlfriend at the time, the song took on a life of its own (hence the varied spellings of its title) as it was covered by many artists, including Simon and Garfunkle on their 1966 album Sound of Silence.
Graham is credited with touching on a wide range of influences in his music, particularly jazz and blues, as well as elements from a wider world of sounds, such as Indian or Arabic, that were not particularly well-known at the time.
Pavey said there would be a private funeral held for Graham this week and a public memorial service is being planned for January. Further details of the service will be posted on Davy Graham's website.
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As an add, another influential (in NZ anyway) was the Decca album "Folk Routes, New Routes", on which Davy Graham backed trad singer Shirley Collins and played some instrumentals. It came out in the 1960s; in 2008 thearrangements are still fresh (and hard to play).
Alan Young
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Hi folks,Been asked to pass on this sad news: "Davy Graham has passed away 15 December 2008, London Sad news indeed, one the the very best has left the building. I used to see Davy in a pub called Finch's in Nottinghill I think it was. He was truly a legend and his playing inspired many many great British players. Some say he never reached his full potential as he was plagued with addiction and ill health during his life, but the early work he did was and still is among the most brilliant of an era. Check out his album with Shirley Collins or hissolo masterpiece Folk Blues & Beyond. He was "world" music before the termwas even thought of.

RIP Davy Graham.

Sam Sampson

Dominion Post 13/12/2008:

SAMPSON Charles William. "Sam the Fluid Druid of Stewart Island"._Sam passed away peacefully at home with friends on Monday 8th December 2008, at Stewart Island, aged 65 years.Privately cremated. Sam would like to welcome all his friends and colleagues to a memorial service to celebrate his life at the Stewart Island Community Hall on Monday 15th December at 2:00pm.Messages to PO Box 65, Stewart Island, New Zealand.Avenal Park Funeral.

One of our original kiwi folkies back in the 60s.She'll be right mate!
Sadly,
Robyn Park
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I was sorry to hear of Sam's passing. I recall the times at Frank & Mary Fye's Balladeer coffee lounge in Willis Street around 1965, when Sam would appear, pretty much fresh from the bush & perform his own & collected poems. I believe he was an avid tramper & tall stories, poems & songs were often shared in tramping huts. Sam has now joined those other loved & missed performers of that era: Frank F, Max Winnie & Warwick Brock...Boy, that place fair hummed at times, with others too, such as Val Murphy, Frank Povah, Ron Davis, Joan Prior & Bill Taylor, not forgetting Mitch Park & others who's names slip my mind.

Rest in peace, Sam.
Best...Dave Hart
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Al and I remember Sam Sampson from the days of the sixties.He was a regularperformer at The Devonport FC when it was held in the Church Street churchhall and also the Wynyard Tavern. A compelling performer, he stays vividlyalive for me because of his incandescent singing of The Lags Song. So passionate a rendering. It was astounding singing to me, just a youngteenager then.
We were also fond of his hairy mein and roman sandals/black seaman's jerseypersona. Al's mum came across him recently in Stewart Island, he was a tour guide and noted character down that way. By his look and his singing Jean Young asked if he knew of the DFMC and he remembered many of us by name and fondly recalled his times in the clubs and parties of Auckland. A true original who lived life to his own prescription, he is fondly remembered by us and, I'm sure, many others who came across him.
Beverly Young
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Very sad news indeed. Sam hadn't been well for some time, but his demise was still somewhat unexpected.
Sam Sampson was one of Folk Music's great characters with his big black bushy beard, booming voice and enthusiastic persona and a lovely bloke to boot. He will be fondly remembered by many for his contributions to the folk scene by way of singing Peter Cape songs, which one could almost swear were written especially for and about him.
Sam and I became good mates over the years and I managed to spend time with him on Stewart Island on a number of occasions and certainly whenever I was performing in the area. I doubt if I would have ever sung on the Island as many times as I did, if it hadn't have been for Sam's ongoing support and encouragement. He was a keen tramper and knew many bawdy tramping songs from his days as a member of the Victoria University Tramping Club, going on to spend some time as an outdoor pursuits teacher at Rotoiti and later Tautuku during the 1970s & 80s.
From all accounts school kids absolutely adored him. He used to visit my family in Chch regularly back then and and my kids loved hearing his bedtime stories, which he spontaneously composed, weaving each of their names into the tales and stories he was telling. Sam collected many yarns, stories and songs along the way and was happy to share them with anyone who was interested. he manage to incorporate some of these into his spiel while transportng tourists around his beloved Stewart Island. N.Z. Folklore Society archives have preserved a few of his observations and verses etc.... some of which will appear in my forthcoming book "Faces in the Firelight."
I have many stories to share about me old mate, but this one in particular truly resonated with me. In my collecting/songcatching capacity, I often asked Sam to record some of his Kiwi songs for posterity, but he always declined saying he wasn't ready yet. One day in the early 1980s he arrived on my doorstep clutching a large bottle of whisky and announced himself by saying "Phil I'm ready mate, do your thing!" I spent the next few hours recording every Kiwi song he could remember punctuated by copious swigs from the bottle........It became a very special evening. That invaluable tape is now in N.Z. folklore archives. I'm really going to miss Sam and his spontaneous phone calls from Stewart Island whenever he'd had a few too many drams. This world is a far worse place without his presence.
You may have gone mate but not forgotten!
RIP Sam Sampson
Phil Garland
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Likewise, I am saddened to hear news of Sam's passing.
Compared to others on this list, I had only a short-term acquaintance with Sam, comprising some long whisky-fueled phone calls and a visit to his Oban abode in January 2007. We were there on Stewart Island to do some tramping and learned from Sam how he'd helped pioneer the epic northwest circuit route back in the 1970-80s, cutting the track and helping with the hut construction. Just another string to his bow.
Sam told us an interesting anecdote about the 1960s folk scene. Apparently there was a folk concert in the Wellington Town Hall for the benefit of theNZ Folklore Society in the mid-late-1960s. The concert was being live broadcast on 2YA. All was going well until Sam stepped up and launched into"Kiwi Keith's Back Again", his own piece about Keith Holyoake being re-elected in 1966. As lines such as "Since Holyoake's been elected / Thepoor will be neglected / We'll be standing on the breadlines once again" resounded around the hall, the radio broadcast mysteriously ran intotechnical difficulties and could not be resumed. Perhaps others may know more about this case of state censorship of NZ folk music...?
RIP Sam
Michael Brown
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After getting computer sorted and catching up on messages feel I have to express my sadness at Sam's passing. Like others on the list I too have so many memories of the man and they will stay forever.
Briefly I would like to share a couple with the list. Sam was a frequent visitor to home and also to my mother to whom he was unfailing kind and gentlemanly (I realise that this may surprise some who knew him as a larger than life character). My mother liked him immensly along with some others no longer with us eg; Brockie. Frank Fyfe. She enjoyed his company and I would find them both in animated discussion laughing and smiling - she always said Sam was so good to see.
Personally my favourite memory comes from a time in the early 1990's when I was working as a salesman for one of the North Canterbury Wineries making sales trips arond the South Island. On one of those trips I was in Invercargill and had called into the Hotel/Restaurant opposite the railway station. I was in the main entrance to the Hotel concluding a good sale when the door behind me from the street opened and a familiar voice asked if a room was available. Upon being asked by the manager what was he doing there the reply came that he had just flown over from Stewart to collect his tax refund from 3 years before! I turned round saying, "Gidday Sam" whereupon his reply was, "Good grief ! A little Garland - what are you doing here " . As a result Sam took me out to dinner that night at a upmarket restaurant and insisted on paying pointing out he could afford it. Sadly that was the last time I saw him altho' like Phil I did receive those spontaneous phone calls from time to time. I'll miss him.
RIP Sam
Mike Garland

Middle classes and music

From the nz-folk list: Here's an extract from a recent article about classical music concerts inthe New Yorker. I wonder if a similar phenomenon took place in folk music at around the time the EFDSS formed? Folk music is probably not what it once was.

With the aristocracy declining in the wake of the French Revolution and subsequent upheavals, the bourgeoisie increasingly took control of musical life, imposing a new conception of how concerts should unfold: programs favored composers of the past over those of the present, popular fare was banished, program notes provided orientation to the uninitiated, and the practice of milling about, talking, and applauding during the music subsided. To some extent, these changes can be explained in anthropological terms: by applauding here and not applauding there, the bourgeois were signalling their membership in a social and cultural élite. As Johnson points out, they felt obliged to reconfirm that status from year to year, since, unlike the aristocrats of yore, they lived in fear of going back down the ladder. “The bourgeoisie isn’t a class, it’s a position,” the Journal des Débats advised. “You acquire it, you lose it.” Attending concerts became a kind of performance in itself, a dance of decorum.

http://www.newyorker.com/arts/critics/musical/2008/09/08/080908crmu_music_ross