“…music comes out better on a stolen guitar…”

The title of this post is taken from a Bowie tune from the Ziggy Stardust album. I thought it expresses something—not about stealing—but about the spirit of Rock N’ Roll. Like, rebellion,  invention (everything the big skate brands hanker for), a feeling of danger, the bad boy, the slick backed spiked up fuck me Johnny out to corrupt our nations sons and daughters, challenge everything. Okay, so a little make-up got in the way.

Musicians whinging about being ripped off by file sharing need to switch up the play or get out of the music business period. It’s like Keith Richards comment upon hearing of Kurt Cobains death …that maybe he was in the wrong business. The battle cry about file sharing from record execs’ is akin to the last nail in the music business coffin. A business which has essentially been a gravy train for the last 50 odd years for anyone but the artist anyway? Whether we had mp3 file sharing or not, there is a history of musicians protest about being fucked over by companies and managers… George Michael, Prince blah blah. 

Below is the link to the article I referred to on todays show

http://creativefreedom.org.nz/story.html?id=225

http://creativefreedom.org.nz/

During todays show I mentioned some issues around the possible passing of the 92a copyright act. The books I referred to were

The Public Domain: Enclosing the Commons of the Mind by James Boyle

Content: Selected Essays on Technology, Creativity, Copyright, and the Future of the Future by Cory Doctorow

I also referred to the following You Tube presentation 

 

Playlist for Sunday 22nd later.

British Dee Jay’s Down Under

I remember this time in 1993 when Ob1, and some family from ChCh came over to Sydney and we ‘went out’ mannnnnnn, dropped **** and hopped in a taxi on the way to ravvvvvveeeeeeeeeeee baby. Well, we broke out the ****** in the taxi and the cab driver—after a few tokes, started to try and run people down. Anyway… get to the rave destination, and it was a hoax.

Rave scene meant money for promoters/not summer of love. British Dee Jay’s come over to NZ and OZ after the London audience dwindle… more so in OZ. A good Dee Jay scene is a jaded Dee Jay scene. Thats right, attitude right now. ‘Direct from UK’ ? Hype.

 

Backward Flip Temperatur e E

Baby’s Got A Temperature

Liam G did nit rate this record. I beg to differ.

 

 

Velvet Rave Dust Z

Regarding Sunday last 22nd Feb

If it’s true that 90’s may ‘come-back’ ‘do a re-run’ ‘get hacked’ like 80’s and 70’s, then what may be different or at least can be different? Some blogs point the way… like what blogs Woody? Hey, dig your own hole.

It’s a good thing that The Prodigy new album sounds like The Prodigy of old… I mean wouldn’t it be good to hear The Rolling Stones do another Beggars Banquet ?

The rave from the early ninties still outweighs any dance music made from ‘98 onwards_French dance aside. As parrrrt of the ‘Dance Music Is Dead’ series all recent ‘dance Music’ from the last 10 years is devoid of politic and innovation—yes—even dub-step [here we break out the 'shut up and dance' series]. Check your head for early Adam and Eve, early Force Inc, All early Edge & Rabbit City records, early Rob Playford ‘Formation records’.

 

Some Playlist highlights

Diversion EP Edge # 9

The Prodigy—Warrior Dance

The Siamese Twins—Twistscratcher

Human Resource—The Joker

 

Zalve Zound Zystem

What is a Sound System? Who is calling themselves a Sound System? Where is the Tackhead Sound System? 

What was the Valve Sound System? No matter what Wikipedia describes, if the tracks are not mixed live or there is no specialist rig.
How it be a Sound System? 

********************’ does not always guarantee a better frequency eh Aotearoa…

valve sound system  

Industrial Rock Sound System 2

NIN Auckland 17th Feb

Industrial Rock Sound System

NIN Auckland 17th 

Untitledz

Plalist for Sunday 8th

Todays set-list spanned The Chemical Bros to the Cramps
to Mia to Adrian Sherwood, sharing a common
denominator of furthering their genre in some
sonic way…  and in another way ZiggyRemixed.

 

It’s Britney Glitch

Okay, heres the rub, for those interested. This is the draft proof.

The other night on tele there was a documentary about pop star Britney Spears. It was titled ‘For The Record’. I only saw the last 15 minutes and… from what I viewed it looked pretty much as I expected i.e the no make up, she really is the plain girl next door type schtick.

There is no doubting that Brit666ney—as a modern pop star—is an efficient-of-the-moment-pop-star artifact. Recently, her newly found sonic frequency keeps her transistor radio airwave enhancement relevant. Her videos create a fictional stratosphere of sexual-over-suntanned, bladerunneresque-shopping-mall frenzy—whilst managing to unwittingly re-interpret Less Than Zero ennui, and this is not even an intellectual observation. Everything produced by the Britney camp is effectively brilliantly Pop; the dancing, the sexual tension, the Britney/Madonna dildoesque connection (complete with lesbian spank bank fodder that keeps the guy quota-attention-sic-market).

Anyway, I’ll cut to the chase. The Britney documentary is incorrect as being titled ‘For The Record’, because it is not complete. The missing part is the piece that her and her marketing team failed to explain. Which was how they targeted the buying public of 12 to 14 year old teenage girls with sophisticated visual imagery and lyrics complete with candy girl whore packaging. A sexual proposal with a potent sexual dynamic far beyond the comprehension for whom it is/was intended.

At the outset Britney and her team delivered a visual-fashion-politic/message to under-developed girls which spoke in monotone “I am available”! Young females—almost teenage—could not possibly understand the dichotomy of sending out a visual image (attitude and dress code) which says yes I am sexually available but I’m sorry it’s really a no! Umm… err… I look like a slut but I’m not really a slut. Read up on Camile Paglia to get the full low down. Guys have been frustrated by the conflicting message which woman utilise. Moreover, how can a guy navigate what Paglia refers to as  ’…womans cold eyed comparison shopping…’ of men—while looking enticing, nubile, available (maybe this was all sorted in American Beauty?). The politic of Britney’s release Womanizer, is the flip side of the slut chic she has made her career out of. She’s got a nerve she has, to critique men in Womanizer the way she does. 

My beef is about the unstated piece of ‘For The Record’. I mean, fuck you Britney… if you don’t mind, because now you’ve tried to go for and exploit the hearts of people, where do you get off? Glitch.