Letters

Rip It Up, Issue 213, 1 May 1995, Page 10

Letters

Plug Pulled On Powerstation

The rumours are true. The Powerstation has been sold. and all the old staff have gone. Unfortunately, this event happened so quickly, we were unable to thank all those people who helped keep the place open. . 5- ; So, thanks to my staff who had to put up with

everything from death metal to nine hours of techno. A special thanks to Megan in the private bar, and a public apology to all those who suffered her abuse.

A huge thank you to all the local acts who performed. I feel privileged to have worked with so many talented New Zealanders. The day is not far off when the international record companies will realise they’ve been ignoring a very significant music base.

I’ve always said two people in particular brought in the shows that paid the bills so we could support local music — Bridgit Darby and Doug Hood. Finally a chance to publicly thank you. Also, a chance to thank the people who slog their guts out for bugger all money, but who the majority of abuse — the techs — especially Kevin, Chris, Deano, Michael (Smuttly), Syd, Supa’s crew, and Russell at Livesound. Finally, thanks to the audiences, especially those who turned up to support young New Zealand talent at Five Bands for Five Bucks. shows.

So, that’s it. The end of an era. And to all those who lived in fear of their back bar escapades being made public, if I don't get a job soon, check the Woman’s Day for your name. Carmelle Bennett, Ex-Manager, Powerstation.

Gulf A Goner

The Editor, As at 3pm Tuesday 25 April 1995, K.A.F.M The Gulf 93.8 was forced off air due to bureaucratic bungling and corporate conniving, that has left Auckland without a Hard Rock/Metal radio station. You, the public, have been compromised again by media giants in a so called deregulated radio market supposed to encourage grass-roots type radio, when in reality it has opened the door for multinational investors interested only in making a quick buck. Whilst it is not my position to divulge names or guilty parties, I question the validity of the Minister of Broadcasting, Mr Maurice Williamson, who originally allowed K.A.F.M. to operate with an output level that did not reach the community that it was designed for, ensuring from day one that this station would fail. Who would advertise with such a station?

Three years later, K.A.F.M. was allowed to increase its output to 1000 watts (well below most other stations), told it was now commercial with no funding available from any Government department, and by implication, told to sink or swim. No compensation was given for the original three years operation, putting K.A.F.M. on the back foot yet again. Had this not taken place, K.A.F.M. would have built on its reputation for being fiercely independent and ground breaking. Listeners, and most record companies had already come to this conclusion, and it was only a matter of time before mainstream advertisers found out what is already known overseas, that Hard Rock Radio works. Thank you to all our listeners, the local bands, our advertisers and the people who believed in us. The fight is lost but the battle rages on. Keep your eyes open for a posthumous gig of titanic proportions, and on behalf of all the DJs at K.A.F.M, Rock On Auckland. Commander X. More Of That Jaz Whilst reading the King Loser article in the April issue, I was offended to read Chris Heazelwood’s comments about Jaz Coleman and York Street. I can only suppose he was referring to Cicada, who worked with Jaz in early 1993. Jaz heard their music and liked it. He and Malcolm Welsford recorded a song over two days and everyone

seemed happy with the result. If the band weren’t satisfied, we certainly didn’t hear about it. To the contrary, I saw one of the band members on many occasions after the sessions and he was very positive. Jaz didn't charge a cent for his production contribution; nor did Malcolm Welsford.

The band were given a great deal on the studio time, and seemed pleased with the results. While I applaud King Loser’s ability to record themselves for nothing and be proud of the results, I am sick of attitudes like that of Chris Heazelwood. Get yer facts straight or keep your big gob shut!

What we all don’t need are small minded twits like you, commenting on things you know absolutely nothing about. May I suggest you “get a suit” and “make it somewhere else”, please. Martin Williams, York Street Recording Studios, Auckland.

Supergroove Knock #1

This is .in response to Karl Steven’s (Supergroove) comments about the Single Of The •Year. [NZ Music Awards] which was televised on Music Nation. He made several statements about the award which I did not agree with: ‘lt should not have been a public vote... these awards which you get are by nature , given by the industry... the industry’s recognition of your success... the. public, they buy the album, they come to the gigs.” • Well, the public also help fund all your current music videos, they have kept, you in the charts, they have given you the recognition which you have today. The public are the industry. Without us there would be no events like the New Zealand Music Awards to celebrate.. Why can’t the public participate in the awards? We cannot be bribed, nor do we get involved in all the politics of choosing the final outcome, nor would we give an award to a group who have released one single, then go overseas to study, then be rumoured to have split up. Now, is this the . current industry which Karl claims gives groups their recognition of success? I personally am glad the public vote for Single Of The Year went to a most unexpected winner. Well done Purest Form. Richard S, Auckland. > - ’ . Supergroove Knock #2 ' I

So Karl Steven again wants to move the goal posts for the New Zealand Music Awards. ■ Following Supergroove's omission from last year’s awards, the ‘supergroovy’ camp cried foul. “Why wasn’t RIANZ recognising and rewarding commercial success and popular appeal?,” they justifiably shrieked. In response to this criticism, RIANZ decided to put the award for ‘Top Single’ category out to public vote. Supergroove were among the five nominees the public were invited to vote for. Come Awards night, we come to the ‘Top Single’ category, and the winner is Purest Form! (Ooops — surely not as super and as groovy as. Karl had hoped for!)

Interviewed after the Awards for Music Nation (Channel 2, April 16), Karl was in full flight: “I don’t think it should have been a public vote. Awards are, by their nature, given by the [recording],industry — they are the industry’s recognition of your success.” Come on Karl, that’s not a very good Kiwi attitude — sour grapes, surely. Isn’t it great that finally the public have been given a chance to have a say in the Awards, or don’t you trust the public's judgment? Is popular appeal only a laudable concept if your group wins? Supergroove have deservedly earned the respect and recognition of the recording industry, but aren’t you big enough.to share some of the limelight? Or maybe only groups with names that begin with the letter S and end in E should be eligible for next year’s awards! Steven Mountjoy, Madame X Records. Karl Steven replies: Steven, it looks as if I’ve changed my mind, doesn’t it? Oh my God! I have, and I plan to many times throughout my life. I don’t posit my opinions as some kind of immutable cosmic truth. I say what I think, and

what I think changes. During the past year I have had opportunity to think a great deal about the Awards, as every second interview I've done has called me to comment on them. My position is as follows: There are two arenas of music: the public and the industry. The bands are where these two arenas meet. As far as appreciation outside the band goes, the public is obviously the more important of the two — if the public likes something, they buy it, listen to it, and come to the gigs. The industry, on the other hand, have a prize giving each year (the New Zealand Music Awards;, where they get together, get pissed, and give bands they like bits of yellow perspex. This year we got some, last year we didn't, no big thing either way. The reason my attitude toward these festivities has changed is because I have ceased to regard them as some kind of ‘quest for the truth’ — a good night out with some other bands is the most I expect from these ceremonies. If you want someone else's opinion on what you do, go play a gig. Don't wait for the music industry to tell you, let alone notice.

Your suggestion that I only desire what suits Supergroove is insulting and untrue. If RIANZ hadn’t taken the farcical approach that what they do has anything to do with the public, with their token public vote for the singles category, I. think that the song we all know to be the best should have won — Headless Chickens' ‘George'. ■ Congratulations on your success. , Shirley Anne Fan ' . Dr Quesineer, Auckland, ; ' ■ ' Get a life. Obviously you know all about playing with blocks, so go back to it until you can say something constructive. We happen to think Shirl’s as good, if not better, than any of the other so called journos around. If you’re so great, where are your articles printed? Get a real job and maybe you won’t have so much time to sit around thinking of negative crap to say. . vv , Myk, Auckland. - ■ , ’I ■ . ■ . Be Someone •The good thing about this sheep filled land is that any new American fashion, eg. music, can be picked up by anybody who wants to get on the bandwagon. Fine, every person forthemselves. It’s still good to see that old fashions (in most cases last year’s) don’t just dissolve into nothing. They become even more precious to folk who still enjoy wearing their colours. ' - I don’t like the ‘grunge fashion’, but I don’t go out of my way to shoot it down, or start accusing anybody of anything, where as ‘revived 60s’, 15 year old rich kids do. Oops. . Kurt Cobain stood for no cause and least of all a fashion’. Silverchair are a pretty cool band for their age, but you have to laugh anyway. It’s all a bit deja vu for me. Heavy Metal may nearly be gone, but it’s paved the way for some great new music, like Love/Hate and the Poor, but it seems to me you have to leave the city to find people that appreciate this “new music”, or maybe they all hang inside or at the local, because.the whole scene (especially Wellington’s) has become quite non existent. Maybe everyone is too alternative to be someone. . ' Dazed (at home), Pukerua Bay. Sharing the Magic .■Warkworth witnessed its own Big Day Out on Saturday [March] 18, when craft, talent and fun brought .the old cement ’ works to life. Families from near and far’ experienced some; special magic during the 14 hours of continuous music. This is the second time a dream has come true for a very special lady. Marlene Panhuis has kept a little sparkle alive inside her heart for a long time, since the first Nambassa. She said then: “I’m going to have a festival one day.” (She warned you Hank). On Saturday she shared that magic with us, she showed us that sparkle, and we all took a

piece of it. It’s tucked away in our hearts now. Marlene, you’re the most dynamic person I know. Thankyou to all your family and friends who worked so hard —just because they love you. Thankyou for the magic. Love from Rochelle, Wellsford.

Eddie Bedwetter

I always knew Pearl Jam were the wimpiest bunch of heavy mental posers on the face of the earth, but what a display of shallow, money raking, gobshite, tuneless antics they got up to in New Zealand. Ten thousand looney-tuned, partially deaf orangutans turned up for their useless concerts. (It was a great time to go out in Auckland!) And the bollocks ridden girlies bring on Tim and Neil Finn, two of the most crappiest Beatles imitators in Oceania. Kurt Cobain had guests like the Meat Puppets, Courtney Love, or the guy from the Vaselines, and Eddie Bedwetter has the Finn brothers. Next tour he might bring on Roger Gascoigne or Alistair Riddell. What a ponce. Plus he’s a surfer, the lowest form of Crustacea. What a git. *

Eddie Vedder Drowns in Surf Accident Singing Message to My Girl to Tim Finn. The world couldn’t give a toss. Throw your Pearl Jam records into the garbage. Are you sure he wasn’t born in Henderson? Merle H Thomas, Auckland.

Wishing Upon Stars

We are four Wellingtonians who want to move to Auckland. We think it’s unfair how Aucklanders have all the major bands and they don’t even care. We all like Purest Form and are dying for their album to come out. We always buy your mag hoping there’ll be something in there about them — but there never is, so we thought we'd try a letter instead. We always hear about how they’re in a Christmas show or an Easter show, but we can’t just jump onto the next plane up to see them. We have to patiently sit in our homes, hoping it’ll fill up our TV screens. So, you see, we’d be grateful if RIU could do a major 10 page article on them so we can read it and wish (again) we were right there with them, instead of watching our ‘Message to My Girl’ videos over and over and over... please!!! CJ ‘Pepa’, La Teesha ‘Matagi’, Tami ‘Leauanae’, Kandy ‘Tautai’, Auckland (we wish).

My Two Cents

Having played the Auckland/Hamilton club circuit for the past five years now, I’d have to say, the’state of the music industry is the worst it has ever been! Firstly, why do record labels persist in giving contracts to the likes of 'the 3Ds, Pumpkinhead, the Nixons and, my personal favourites, the Halleluiah Picassos — bands that

very clearly don’t impress the average New Zealand rock punter, let alone the world! Secondly, I’m getting completely disillusioned by the lack of venues open for original bands these days. What with the Gluepot being knocked down, the Blues Bam disappearing, the Mon Desir on its last legs and, my worst nightmare, the Powerstation being sold off to a crowd of Australian promoters who clearly do not want to promote local talent. Carmel, I will miss your straight up and down business methods as I’m sure many other New Zealand bands will. Lastly, why is it that The Big Day Out, Mountain Rock and Strawberry Fields keep playing the same old boring bands who seem to rear their ugly heads at every major event, every god damn year! All I can say is what ever happened to bands such as Push Push and Nine Livez, who used to make a crowd walk out of a gig with a smile on their face, rather than an urge to kill themselves? BB Lyons, Hamilton. PS: I agree with Floyd of Waikato. After seeing Fat Mannequin open for the Cult at Wellington Town Hall, I think they are the best Pearl Jam tribute band I have ever seen!

Fat Fans

Hey Floyd of Waikato, . , In response to your letter. in April’s RipltUp, my friend and are writing to tell you where you can stick your farm boy opinion of .William (Redneck?) Hickman. 7 . . .• ~ , Firstly, we’d like to point out you obviously don’t quite comprehend the meaning of the word ‘redneck’, or . the depth: of the band name ‘Fat Mannequin’. ' J ' Your letter was totally filled with bullshit.comments on Hickman. We used to go to the same school as the band, and we know for a fact that Willy is not impersonating anyone,.let alone Eddie Vedder. An ‘identity crisis’ — as if! .By the sound of things William’s much more together than you’ll ever be! ‘Forging .an accent’ and .‘pre-rehearsed headbanging’ — whatever! ‘Needs to gain weight’ and ‘anorexic’ — you're the one with the psychological problem mate! You seem to have been having a low self esteem day when you wrote this letter. Why did you even bother? Your letter was full of shit! ' Smarter Than the Average Farm Boy, Wellington. PS: Yes, the music does go off! Unfortunately,

you don’t