Letters

Rip It Up, Issue 99, 1 October 1985, Page 37

Letters

Post to RIU’ Letters, PO Box 5689, Auckland 1

Broadcasting Bites Back Why did Mark Everton, Barry Jenkin and Andrew Congdon subtitle their article (Sept RIU) as "a fable ...'? Perhaps they were admitting that this was not a serious attempt at journalism, but simply a little story they put together to support the moral they had already decided upon. The advantage of a fable, of course, is that it does not have to be logical and there was little logic in the article “Big Brother On the Bandwagon". What might have been a worthwhile discussion on the future of radio probably left most readers cbmpletely bewildered. It was obvious that these guys were angry, but what exactly were they angry about? It would come as no surprise to anyone that these three concerned broadcasters currently not working in radio don’t like what is known as "commercial radio”. It is a bandwagon of their own which they have relentlessly pushed. They concede, however, that they are in a minority. (Why is it that minority groups all seem to to think that theirs is the only true path to salvation? That only they know what is good for everybody; when it is just such imperialism from others which they are fighting?) It may well be that the minority audience which this troubled trio represent should be catered for. But the difficulty is, by whom? One would expect, given the tone of the article, that the authors see this as something private radio might do. After all, they clearly support private radio: they applaud Radio Hauraki for having broken the “monolithic stranglehold” that the Broadcasting Corporation once had. They are obviously apalled that Radio New Zealand gave Radio Windy a hard time in Wellington. They clearly resent any extension of Radio New Zealand’s ZM coverage because it might make life difficult for private radio. But no. Private radio is exonerated from any obligation to cater for minority tastes. They say "no one can really stop commercial broadcasters from using the most profitable formats". They excuse Auckland’s FM stations for “selling out to popular appeal." So, after all, Everton, Jenkin and Congdon are not the antiestablishment free-enterprisers they pretend to be. Underneath the capitalist rhetoric, they are just another minority group wanting the State to look after them. Funny, then, that they should be so vehemently opposed to the expansion of public radio. Wouldn't they be better off decrying all these nasty private stations who are only in it for the money and who are preventing Big Brother from giving them the special attention they demand as birthright? Alternatively, perhaps they should act like the free marketeers they pretend to be. Seems logical to me they should take the Broadcasting Tribunal’s FM report to heart and start their own radio station. I promise not to object. Chris Bray (Station Manager, IZM) Auckland Your own improbable logic skates awkwardly around the article's central point: that public broadcasting and particularly the ZM network must face up to responsibilities beyond ratings and money. For the ZM network to expand is obviously a good thing for it to leap into limited markets in direct more-of-the-same competition with established private stations can only downgrade radio as a whole. The arrogance you display in dismissing anyone who demands a little more from radio as a "minority group" is distressing coming from the manager of a station owned by all the people of New Zealand. The sub-head to which you refer is a play on the title of the new album by popular American group R. E. M. but we wouldn't expect you to know that. RB Hip ‘Presh 1 I would like to write this letter in support of Simon, Tim and Charles (RIU, July and Sept). While I don’t agree with their personal opinions, I still think that they are essential opinions nonetheless. I think that the Chills are one of the greatest live bands I've ever seen, but I also think these three were

perhaps having a dig at the scene (and hype) which surrounds the Chills and other Flying Nun label bands rather than at the group itself. I think that the bands involved are (on the whole) a fairly humble bunch, however it appears that the cynical one-eyed supporters they attract are doing a lot of damage by making the whole scene intolerably “hip”. To reinforce this I would like to point out the Bird Nest Roys article (RIU Sept). In the article it states that only about 35 people turned up to see this much hyped band (oh, the poor musically uneducated who missed out). They're almost total unknowns outside of Auckland (as they have released no records), they only have a set of about 12 songs yet they appear in a national fanzine in an overlong and often obscure article. Is anyone really interested in what these people did on top of Mt Egmont? The whole article was just full of in-group jokes and selfindulgence (a bit like the Bird Nest Roys live actually) on the part of the writer (who could lay claims as the biggest one-eyed "hipster" in Auckland). It’s these very people going on about honesty, etc, in music, but they’re the ones who’ll end up destroying it by blowing its credibility to pieces (yes, that's you Mr Russell “I discovered punk when I was 18” Brown). This isn't intended to be a nasty letter or anything, but while I'm at it I might as well have a go at Chris false humility' Knox. How many young bands await his all-important seal of approval before becoming 'hip? How many times have I read or heard “Chris Knox said the band was good/bad/average" Is he really NZ's answer to the Hip Priest? I suppose he must make himself feel important this way. Adulation must be easy for him to take. At least when he's playing God he’s away from his "legendary" 4-track. Just because his "potting shed thrash” is so woefully bad at the moment. So come on all you FN supporters, judge the music on its merits rather than which scene it comes from. David Rutherford

(1) Bird Nest Roys got good reviews here and elsewhere before they were part of any supposed “scene" they toured with Dance Exponents before they toured with the Chills. Being popular and promising doesn't make them "hip"; don't construct politics where there aren't any. And any band which has played (and reportedly been enthusiastically received) in Wellington, Christchurch, Dunedin, etc, is hardly “virtually unknown outside Auckland." (2) Chris Knox is a father, musician, film-maker, journalist, illustrator and record company sales rep; anything else you put on him is your problem. He doesn't send out bloody press releases. (3) I object to being called a cynic. It is not “hype"; hype is the pursuit of a vested interest. Fandom 's just the (subjective) pursuit of the best music and a music writer shouldn't be other than a music fan. To encourage others to hear a good band isn't being "hip" or damaging the band's “credibility". Or would you rather leave it all up to the people with the promotional dollars? RB

Billy Two Rip It Up, September 1985, it was a big day for Sir George Kay (knighted of course for his services to pretentious journalism) and his pen, reviewer extraordinaire, leader of a bullshit revival destined to sweep Rip It Up. For years George has been perfecting his craft. The room was empty, bar Sir George himself, the air heavy with Peruvian mango weed (?!!) as George took up his pen. Immediately he soared into one of the most self-indulgent pieces of bullshit I have ever read. (See George's review of Dukes Of Stratosphear's 25 O’Clock in the Sept RIU). Surely the role of the reviewer is to criticise a particular subject and to relay his or her opnion to the readers intelligently and at least relevant and coherent. As far as I can see it the idea is not, as George Kay did, to patter on inanely with some stupid, irrelevant private joke.

Maybe it’s 'hip' to write reviews like this now, I don’t know, but a review which tells virtually nothing of the record surely does not constitute good journalism. All of this self-indulgent journalism has got to stop otherwise Rip It Up will be in trouble all their "hacks" will be writing for the English music press.

Billy Grey Lynn With all due respect, the review is only as much of a"private joke" as the record. I rather liked both. Cheers. RB

No Ordinary Sickness On second hearing, the Tin Syn

drome's No Ordinary Sickness album is a strong musical overview of our world down under. So, to my surprise and mounting digust at the gross ignorance of under-the-counter-paid record reviewers, I read Paul McKessar’s review of Jayrem’s above-mentioned release.

"He trusts in the police force to protect him from enemies of this kind ... things he knows nothing about." Thus the problem of a magazine such as Rip It Up being the mouthpiece of recorded music in this country is compounded, and recording artists (onto my fourth album at the moment) are forced into the Social Welfare queue, while the "would be if they could be" musicians uphold the status quo, writing insensitive, unperceptive rubbish about music which is at the forefront of New Zealand's creativity. However, as the band says, "Nothing’s new in 1985 .. giving us another chance (?)’’ All Scene and Herd in Wellington, welcome, even your American Blessings with your cameras and bank cards at the ready. How about giving us artistes a Musical Review for a change, instead of your usual socio-economic cop-out. Thanks

for printing this, I'll send you a copy of my new album early next year ... on good faith of course. (Look Mum, no money changed hands ... and I made it.) David Hollis (Singer/songwriter) Wellington Under-the-counter payments? Goodness, and how does one go about acquiring these? RB

The Hills Ain’t Alive ... Come on, man. Cashmere's album is pap. Apart from having a few reasonable tunes, this LP is silliness dressed up. Dwight Dukes has more hair on his palms than this record has quality, but that is the least of their problems. Cashmere, according to Buchanan’s review, are in the company of Luther and Eugene... ahhh ... they don’t even have the same milkman. Chilled Out and Freaky Auckland Rock ’n’ Roll ... Sex is easy. Even you could do it, if only you would stop fucking about. Look, stop trying to look as though that didn’t shock you. I don't care. But you see, if I didn’t say that, you wouldn't listen. That's what sells. No, not sex, fucking. I mean, look at this publication, yes

I know it's free, but how many other free things do you ignore? Like virginity, what does it cost? And still they can't give it away. You know they say fuck here. Fuck fuck fuck, that's about all they do say. And you know it. You go into a record shop and there it is, in a pile by a wall, and you know when you open it outside, it will have fucking in it. This is better than condoms in supermarkets. Even if you have no money, still you go into a record shop, this is free, after all. You don’t go to buy, you go to be seen buying, and to be seen with a paper in your hand, there’s fucking in there somewhere and everyone knows it. Don't look now, but you've been seen. Don't try to tell me it doesn’t sell. And don’t try to tell me you don’t think it's dirty. Anon Massive ... RB Aotearoa Firstly, I must state that I am a Rude Boy (one of the only original Rude Boys left in NZ unfortunately). Being a Rude Boy means I believe in two things: (1) I listen to ska music; (2) I am an anti-racist. This letter refers to Radio With Pictures

on the night of September 1, when there was a local reggae special. I started to watch and to my shock and horror the programme was totally racist, starting with Aotearoa, who seemed like they wanted every white man dead. Now at this point I must mention I am a half-cast Maori from Northland, so this is not "just another white man's thoughts." Yes, I do agree we have a racial problem here in NZ it’s not white against brown, it seems unfortunately to be brown against white. A number of fellow Maori people have commented about the RWP programme with similar comments and they say they are sick and tired of a few troublemakers giving the proud Maori race a bad name. Wouldn't it be nice to live as New Zealanders reflecting and learning from both cultures equally. Not just from one or the other. Stop this racism. We managed to stop the tour. (Unsigned)