Posts by Simon Grigg
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The main argument is one that's been made before: that the government support and involvement of NZ On Air have ushered in a mainstream that is essentially aping overseas genres to get played on the radio.
No, I think its much more than that...its the diversion of funds to projects inside the system, because the system validates that funding and nothing else. I can think of many examples, some in the last month or so.
I have huge respect for what NZOA, and in particular Brendan Smyth, has achieved in the past decade and a half but if any agency was screaming out for radical reform....
I could say a lot more but I'm going to edit myself.
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You got me there. I love Split Enz - my first ever gig, Napier Muni Theatre 1984. I haven't heard the doco, but I came away from Mike Chunn's book (lightweight as it was) feeling the same thing. Tim Finn seemed really highly strung and high maintenance. I think the fact that he's been involved in fisticuffs with both his brother and with Phil Judd (after he'd left the band) shows how close it must have been.
so they're like every other band...
I toured with Enz twice in the early eighties as mgmt / label for the Blams, and found them to be, by then, very happy to be around..a smooth machine in which everyone knew their roles. Great fun in fact.
I suspect though, putting Tim and Judd in a van, adding poverty to the mix, and waiting would have been interesting. Judd is not easy.
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Sometimes, I think it's much easier to fall for the romantic stereotype of the tortured, starving artiste when you've got a full belly, a roof over your head and the certainty of a pay cheque at the end of the month.
all artists should be told that they can only produce great art when they are starving, miserable, and about to end it all. They have no right to expect otherwise. After accepting this, in writing, only then are they entitled to a small government grant every now and then.
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ahhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!
more weird guitar guys
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more [[http://www.nypost.com/seven/05032007/gossip/pagesix/easily_scared_pagesix_.htm|weird guitar guys]
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Less marginalization for artists (creative people, whatever) is a good thing and that's what Helen signals loud and clear.
I always prefer what I find on the margins....
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1) Why does anyone even try to make a living as a musician (or an artist, painter, writer etc. for that matter)? Masocihism, obsession, sheer bloody-mindedness or all of the above?
because it's not about trying to make a living
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As you say Russell, Neil is both right and wrong but has never been shy in his views on anything. I guess 30 years of dealing with record companies and promoters does that.
But there is no doubt that the local industry is not as healthy as it was a year or two ago....but only on one level. I'm not in NZ but I am privy to a lot of private correspondence which does give me a perspective of sorts...perhaps somewhat skewered, but so be it.
I understand that the airplay percentage has slipped quite a bit under the 20% mark of recent which may explain why nobody is forthcoming with the figure this NZMM.
I've always been of two minds over a quota anyway....generally I support the concept....radio will only play our music if they have a large stick pointed at them. But, inevitably, its been problematic with too much time and (major label) money being spent on trying to make radio friendly songs. The cart leading the horse. Radio (and record companies) are not innovators, they are by nature very conservative, even backward, and need to be pushed. But in recent years these roles have been reversed, which has led to a large investment in music, radio friendly, but with no legs outside radio and little international potential (that potential is there but it largely exists outside the NZOA / NZMM system as it always has...The Chills signed to Slash 20 years ago)...but it's not healthy, and I don't know if it's healthy to tout the international success of such when it's non existent...especially when NZOA funds are being diverted to fund acts like Breaks Co-op...signed to a major UK label, because they are good for airplay figures in NZ. Or based on airplay in NZ, rather than solid fanbases or the like, record companies invest large sums on clear non-starters and then cry failure when it doesn't work. Or to use that non-existent success for political flag waving....I guess that is Neils' point.
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the images on the sleeve looked like they were ripped straight off the VHS. Is that the case?
yes, by Philip Peacock. We blew up the VHS shots to a wall, to give that vague diffusion and took the shot.
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So dating at 13, married at 19, divorced at 21 ... poor old Mandy Smith
Jerry Wise (original FMR boss, very much RIP) gave me Mandy Smith and her mother to entertain at some long past RIANZ awards....if I can put it that way. I sat with her for several hours as she pushed her food around the plate and looked vacuously towards a wall. Our conversation was limited. Her mother was pleasant but I don't think I was her type although we talked a bit.
Daughter did absolutely nothing without checking with Mum.