Hard News: Get yer avatars out
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http://www.stuff.co.nz/4858146a28.html
Couldn't help but notice that this article citing 'the world' made mention of as many as 3 countries. time for some realignment.
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Someone should have checked this press release from John Barnett of South Pacific Pictures, because it shows a fairly shocking lack of understanding of a range of laws:
John Barnett says, “This section [92A] is the front line protection for copyright holders, whose work is being stolen on a constant basis on the net. The legislation requires Internet Providers to take some responsibility for what appears on their sites, just as print publishers, T.V and radio stations are responsible for material they disseminate.”
Broadcasters are responsible for material they broadcast in a range of ways -- including most notably in terms of broadcasting standards. The same explicitly and deliberately does not apply to telecommunications companies (we settled that in the mid-90s when a select committee threw out Trevor Rodgers' crazy-assed internet censorship bill). It's just a daft thing to say.
And, er, "on their sites"?
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Also
Illegal use of material on the Internet threatens the livelihood of writers, actors, directors, producers, musicians and artists.
We need legislation to protect this, and s92a does just that.
I don't think that pronoun refers to what you think it refers to.
And yeah, headline should be "South Pacific pictures supports some other part of the copyright act".
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Juha
That's a really good article from Dast Company. Thanks -
Who moved my "f"?
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the shit hits the dan?
what the duck? -
You dool!
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Number One NZ single today. It ain't all doom and gloom out there.
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Whoops that reads like I have a number one...
NZ act has the number one NZ single (and on an NZ indie too)
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Did we notice that Dylan Horrock's cartoon is now leading on the Pirate Bay?
yes we (I) did - I'm traveling today and access to The Pirate Bay, even to read their press releases, is blocked in the Koru Club - apparently business people are timid wee things and must be protected from people with eye patches
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err "didn't'
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Simon,
re your Eno quotation at opdiner, this is similar to what i have wondered about for years (since the beginning of the century). when i was a lad (sorry!) we listened almost exclusively to stuff that was very new from artists who were very young. there were a few exceptions, of course, like Velvet Underground or Stooges, but they were the great inspiration for punk. and we always had a fascination for the 60s, the decade in which we were born. i can't get over so many young things wanting to listen to so many artists that have been around since well before they were born. we had hardly any interest in anything made much before we were born until we were much older (30s?).btw, who is at No. 1? (pls excuse my ingnorance)
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Someone should have checked this press release from John Barnett of South Pacific Pictures, because it shows a fairly shocking lack of understanding of a range of laws:
That's a little disappointing, as John Barnett has been generally pretty much on the money in the past. It might be worth noting, though, that The Penguin Book of New Zealand Jokes , collected by John Barnett and Lesley Kaiser in association with Brian Schaab; and with an introduction by John Barnett and Lesley Kaiser, published in 1996, has a full chapter of not particularly NZ jokes openly acknowledged as being sourced from the internet.
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That's a little disappointing, as John Barnett has been generally pretty much on the money in the past.
The guy is truly gifted, and the culture owes him a lot. But he's always been fairly maximalist on copyright issues.
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btw, who is at No. 1? (pls excuse my ingnorance)
Smashproof, on Kirk Harding, an expat NZer's label, MTC. It deserves to be:
And here's another local tune that deserves some attention:
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i can't get over so many young things wanting to listen to so many artists that have been around since well before they were born. we had hardly any interest in anything made much before we were born until we were much older (30s?)
By 1975 EMI NZ had deleted the Beatles catalogue! They were bemused that we had customers that wanted it in shops I was working part time in. We had to hassle to have it reissued.
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Part of why they listen is because they can. In 1960, if you wanted to hear a song from 40 years before, you had to know someone who had (probably) the 78, and then you had to have a player that could do 78's. The most that most of us had was the radio, which might play your request (if the "hip" DJ could stop laughing long enough) - or you might hear some oldies on National Radio, in between all the classical (and Parliament).
There are great chunks of the back catalogue of New Zealand musical culture that you might never hear again, if they hadn't been put online in all their scratchy glory. But Generation Pod is finding that music is universal, that there was life before Nirvana and that their grandparents' music wasn't half bad. And that, to me, is Very Cool.
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Smashproof, on Kirk Harding, an expat NZer's label, MTC. It deserves to be:
That's great --- a whole mix of influences on a really local vibe. Who is the video by?
I confess, it's new to me. I kind of thought Smashproof were some westie hard rock band ...
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with due respect Mark, in the late 70s/early 80s, if we wanted to check out something old, we made a beeline for parents' record collections or those of other older-generation acquaintances. or we went to one of the many secondhand record shops around town. or the op shop. or the library. there were lots of sources of old recordings, you didn't need much money, just curiosity and the courage to ask or read up. personally, i think the apparent loss of all that historic vinyl is pretty tragic and a lot will never see the light of day as digital files.
but the reason i find it disconcerting that teens seem to love all this old stuff is that (a) they aren't rebelling; and (b) surely it shrinks the market (live/recorded) for new stuff. no?
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Simon,
thanks for those clips, very interesting!
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Part of why they listen is because they can.
For sure, although there was some fun in going and finding that old stuff when I were a lad.
There are great chunks of the back catalogue of New Zealand musical culture that you might never hear again, if they hadn't been put online in all their scratchy glory.
Cue: my rant about Warners' stewardship of the Flying Nun catalogue. It's such a influential body of music and it could be presented in such a great way.
The MP3 blogs noted recently by robbery show there's a demand. Paul from The Bats might be justifiably annoyed at people giving away his music, but there was no actual way for people to pay for the out-of-print Bats EP in question, even if they'd wanted to.
My long-term goal remains to secure the release of the Alpaca Brothers' Legless EP in digital form. I once regaled Bruce Blucher of said duo with this plan, late in the piece at a Big Day Out. He seemed slightly stunned.
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For sure, although there was some fun in going and finding that old stuff when I were a lad.
[random thoughts] Yep, but things moved very very fast...think four years between Love Me Do and Tomorrow Never Knows for example, whereas much of what is being made in 2009 could be from 1999 (and much of course couldn't be). Nothing in 1966 sounded like it was made in 1956. 18 months from Anarchy in the Uk to PIL.
I do think the digital world has made us all very much more adventurous. 1970 didn't see the remastered Deluxe reissues of Glen Miller's albums with bonus tracks and such. I used to buy budget issues and second hand copies of old Little Richard and John Coltrane albums circa 1975 but it was regarded as rather freakish to do so, when there was a new ELP or Floyd album in the marketplace.
The ancient history the punks obsessed about in 77 was only 5-7 years old!
I love the way we can now draw, rather unashamably from whenever we want to create, and think most of the credit for that change comes from the worlds of hip-hop and electronic music. Technology and digital access just made it more accessible.
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Who is the video by?
dunno but it's very Kerry Brown-ish (but not him I'm pretty sure)
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i agree that there is just so much MORE stuff to go back and trall through. and as you say, it is seen as normal now, whereas it was very otaku a few decades ago.
but there is still this strange juxtaposition of much more stuff and greater willingness to look back versus much slower pace of radical change...
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but the reason i find it disconcerting that teens seem to love all this old stuff is that (a) they aren't rebelling; and (b) surely it shrinks the market (live/recorded) for new stuff. no?
a) they're rebelling against the marketing machines' desire that they only listen to the new hotness
b) the industry overall sales stats from last year would belie that
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