Open Letter to Michael Coppel Presents

Hello,

First, thank you for bringing such a brilliant concert to New Zealand - I saw Nick Lowe and Ry Cooder in Christchurch last Wednesday. My friends and I drove from Dunedin to see them and were not disappointed!

However, I and many of my friends were extremely disappointed to find we had paid more than twice the going rate for our tickets - simply, it appears, because we had the foresight to book early. Of course we are happy to pay what an artist is worth to see them but do not expect to be the victims of a Dutch auction and subsidise those who are not prepared to pay. Our seats were ok, not particularly special, set off to one side with some of the stage obscured by speaker stacks. People paying a lot less were nicely positioned centre forward.

Out of a sample of 20 people that I new at the concert, 5 of us paid $131 and the rest all paid $59. Indeed, many other friends around the country have declared that they paid $59 for tickets in Auckland and Wellington.

We are told by promoters time and time again that acts will not be brought to our smaller centres because we are reluctant to buy enough tickets early enough. It would appear that you are encouraging this behaviour, as I for one will not be in a hurry to book early in the future.

Yours sincerely

Mike Moroney

==============
And from others:


Here's my bitter tale. The day that bookings opened for the Auckland show the ticket price was $149. I just couldn't afford or justify that so completely gave up on the idea, despite Ry Cooder having been one of my musical heroes for as long as I can remember. On the day of the concert a friend casually mentioned that he had bought tickets that day for $59. I had other arrangements made that I couldn't undo, so missed out.


and:


Sorry to hear that, Mike. Pressure needs to be brought to bear upon promoters (and kept there), which it looks like you're doing. Also, letting them know that you've blogged this and dropped it onto your facebook, myspace, digg sites, etc, will get their attention. You don't want to come off sounding like you're whining, and you haven't here. Best to keep it impersonal and professional as you've done.

Eventually, with the help of this digital, bottom up media, booking promoters will have to standardise their methods, especially since live shows have now become, far and away, musicians' primary source of income. I can guarantee that if this gets back to Ry Cooder and his people (which it probably already has...), they'll let the promoters know, and will think twice about ever dealing with them again.

Not saying the promoters are crooks or anything, but they're at the least very badly managed and informed on the process. Trying to fill a half empty show after the fact, at the last moment, just doesn't cut it when the audience can let the rest of the world know immediately, via twitter, while they're STILL AT the concert.

I know I'll think twice about buying an expensive ticket online in advance, especially if I have to travel to see the show.

And the reply:::

to Mike Moroney

date27 November 2009 16:57
subjectRY COODER & NICK LOWE - CHRISTCHURCH

Hi Mike,


Thanks for your email in relation to the Ry Cooder & Nick Lowe performance in Christchurch.


We are glad to hear that you enjoyed the night along with many others.


In regards to your complaint about the discounted ticket price, this was a promotion to push our last release of tickets for this event. As the promoter, we are in our rights to change the ticketing price at any given time. This situation is very similiar to purchasing an airline flight at full price, to then see that same flight at a reduced price weeks after your purchase - just an example of many companies running similar promotions.


We understand that you are frustrated by the reduced price being implemented to this tour. However, we are unable to offer any form of compensation.


Kind Regards,
Daniel Hearn

--
Daniel Hearn
Michael Coppel Presents
PO Box 3030, Prahran East VIC 3181


www.coppel.com.au

Mahinarangi Tocker, MNZOM, 1956 - 2008

After a sudden and catastrophic asthma attack that rendered her unconscious with respiratory failure, Mahina died today surrounded by her whanau.

Mahina was of Ngati Raukawa, Ngati Tuwharetoa, Ngati Maniapoto, Jewish and Celtic Ancestry. That's a lot of canoes.

The most contemporary of singer/songwriters, for all her popularity and fame she always kept one foot firmly in our euro-centric New Zealand folk scene. From our perspective, she was probably our "most famous" folkie when we chose to claim her. But she was so much more than that.

Mahina was, in a word, generous. She was generous with her music, generous with her humour and life and generous with her honesty about her mental illness. Here are a few of the tributes from the nz-folk list:

Mike. That is sad news indeed. A great musical soul and a great pal has left us. Tony Hillyard

That is indeed a sad day. A tragedy for her friends, for NZmusic, for Maoridom. Sue Harkness.

Heartfelt condolences to Mahinarangi's partner, daughter and whanau. NZ has lost a shining star who brought much joy, deep insight and wonderful music. Mahina leaves behind a lasting legacy that should inspire many people for years to come. Your laughter, generosity and caring will live on in my heart forever. Me te araoha tino mi atu. Remco de Ket.

Thank you Mike, I am stunned to hear that awful news. Mahina did a concert for us in Thames last year, she brought laughter and light and we sat and talked in my garden all the next day and I am so sad now but glad to have spent some good time with this woman of quality, what a loss she will be. Rosie Holmes

This is shocking news Mike. My heart is with all who loved her and her music so much. Please let us know where she will be laid to rest. Judith McNeil

Thanks for all your thoughts; if this list is about anything it is about mutual support and expression. I came upon the news that she was terminally ill rather circuitously, through a friend of a friend, then arrived at my office to hear the news on the radio. More than this I do not know, I don't pretend to any inside knowledge. I think Laura Quinn is closer to the whanau, and will be able to provide those details that they want us to know. For now we'll respect their grief and share our own thoughts here.

I am to present a songwriting seminar next month for the New Zealand Songwriters' Trust in Gore and was to be presenting it with Mahina. I'd been unable to get hold of her to discuss this; and this was not like her - even when she was unwell she would always communicate with me.

Mahina was a long-time friend of my family. My daughter, Siobhan, stayed with her when she was on placement at BFM for her broadcasting course. Bernadette and I saw her last, and so stupidly briefly, at the Auckland Folk Festival where she told us how happy she was to be in employment, something she hadn't done since her nursing days, and a big deal for someone recovering from a mental illness.

It was 24 years ago when we first met Mahina, she was a guest at Whare Flat - her first folk festival. She was a tiny figure then, chain smoker, nervous, agoraphobic. She warmed to us (and we to her) and stayed with us for a further week. She's been back several times since. One time she sat in front of my cassette recorder and went through every page of her songwriting books singing song after song into the mic. I still have that tape somewhere.

When she turned up that first time, I was hugely aware of her politics (Maaori, feminist, lesbian...) and was watching my every p and q, desperate not to make a Political Correctness blunder. I needent have worried. She was the most irreverent, crude, funny woman I've ever come across but taught me so much in the process. There's never been a time I've been with her that we haven't ended up in fits of giggles, like smutty schoolkids. I've been backstage with her many times, my sides hurting with laughter, only to watch her walk out onstage (with something approaching composure) to deliver the most heart-wrenching performances.

She was a spontaneous collaborator too. "I want you to play this one with me, Moroney." When the time comes, I'm called up, I'm capoed up, D-tuned, all ready.. "Oh, we're not doing that one now, " and launches into something she's just made up, or her own inimitable version of Somewhere Over the Rainbow, for which there is no right chord! Such was her trust in what passes for my musicianship. She'd hang me out to dry every time. I know I'm not the only one who has had that experience. God bless her.

I am so sad. I don't even know her family or her loved ones, though we talked about them often. Those of you that are closer to them might like to pass on my condolences, sorrow and immense pride at having known her. Mike Moroney

Sad indeed. I first met Mahina – I’m not sure, late 1980s or early 1990s - when she was touring, by bus, with guitar and amp. She played at the Luggate pub. That’s dedication to your art. The next time I met up with her, we shared a room at Whare Flat (with Siobhan Moroney I think). We giggled our way through the festival days. Another encounter was at some outdoor gig sharing a stage in the drizzle at Waikouaiti when I was in the Pog Band. There she was carting her keyboard, singing her songs, doing her thing.

I wasn’t really anywhere on Mahina’s landscape but she always remembered me. I’m struggling with this news of the passing of a generous, brave, funny, talented woman. Arohanui and condolences to Mahina’s family and loved ones. Lindsey Shields.

Mike. What a lovely, perceptive tribute to Mahina. Thank you. Like you and so many others I’ve been lucky to count Mahina as a friend and also had the privilege of being invited to share, briefly, a stage with her; and yes it was the same knee knocking experience that others have reported. I have always been truly astonished at her vocal courage on stage as she reached for soaring, impossible vocal leaps and harmonies and somehow pulled them off. Her musical gift was such that she could take the most outrageous musical risks on stage and get away with it. A mere musical mortal like me struggled (and failed) to keep up. But I wouldn’t have missed the experience for the world. Her humour has reduced me to tears every time I’ve met up with her, but I’ve also shared long intimate conversations with her and been shown the other, sensitive soul, that was also Mahina. I too will miss her very much.My heart goes out to her family and close friends. Tony Hillyard.

Hey Mike, that was a lovely bunch of thoughts, I can relate to a lot of them. [personal stuff deleted] Mmmm, incredibly sad, have been playing her Cds all afternoon. Laughing at the time she got me up to sing "harmony" on one of her songs and ended up making me sing the whole thing, completely re writing a song I didn't even know, and she came in with a lovely note on the last word!!! Typical of her stage manner eh. That was the year she came down to Whare Flat with Kath Tait and sang Ruby Tuesday!! Certainly taught me a lot about just going for it and trusting what you already know. Chris Penman.

Oh, what a shock! My heart goes out to Mahina’s daughter and Whanau. When Tony told me, all I could say was “It’s not fair!” What a remarkable woman she was. At the 2006 Auckland festival, we laughed and laughed with her outside our caravan. Then she ‘adopted’ my daughters telling them, “I’m your lesbian Maori auntie” and had them in stitches. She wrote me a lovely email when I was recently in hospital and I am very sad not to have seen her to thank her in person . I am still stunned – her sense of humour and friendship was very special. Thanks for making us feel so loved, Charlene, Rebecca and Siobhan Hillyard.

It is indeed a most tragic day for the whole folk movement and the music scene in New Zealand. Mahina touched everyone with her bubbly personality and her beautiful angelic voice. I only caught up with her at folk festivals, where I became party to her wicked sense of humour. We frequently corresponded off list, for she was genuinely interested in what other people were doing musically. She leaves a void in all of our lives we will miss you "mate" and so will the "missus."Farewell and RIP Mahina we're thinking of you. So Long Mate. Phil Garland

It’s with great sadness to learn of Mahina’s passing. An amazingly gifted woman who lit up the Auckland Acoustic scene in the 80’s and continued to inspire with her great recent albums. Mahina was amazingly generous in her support of other musicians and inspiring to others with her courage, her musicality and social conscience. I am grateful to have been in her orbit and for the warm cross-Tasman email exchanges we sporadically engaged in. Fondly remembered and greatly missed. My heart goes out to her partner, family and friends. Wayne Gillespie

As I sit here, listening to a tribute to Mahina on Radio NZ Nat, playingher songs and hearing that remarkable and individualvoice, I am filled with sadness at how big a hole she will leave in ourlives. All of us that knew her loved her, and rejoiced in her nutty humour,outrageous jokes, and her glee in shocking people with her deliberatelynon-PC quips, designed to wind them up. Some of us will remember a particularly memorable session at an Auckland Festival a couple of years ago, post-concert, sitting outside our caravans, and about 15 people helpless with laughter, and 5 teenagers,jaws dropping with astonishment at the machine-gun-rapid wisecracking, bawdy, outrageous comments! Mahina in her element. Add into the mix that wonderful voice, the brilliance that lifted her into another stratosphere of musical creativity, and the willingness totake such musical risks, makes me feel that we won't see her like again- she was truly a remarkable shining star. Many years earlier at a festival we struck up a great friendship, andmany strange and hilarious emails subsequently buzzed back and forthacross cyberspace - Davy and I both treasured her friendship, empathisedwith her struggles with her personal demons, and feel privileged to callher a friend.To us she was "Tox" (Tocker-Tocks-Tox) and we are going to miss herso much- it still hasn't quite sunk in yet that she has gone.Arohanui, Tox. Libby Stuart

It is with great sadness that we mourn the loss of the beautiful woman, friend and musician that Mahina was to many of us. We were privileged to talk with her and hear her perform adlib at Kath Taits' concert at Titirangi only a couple of weeks ago where she was clearly enjoying her world. I will personally miss her smiling, cheeky presence at many different venues. Aspecial arohanui to Irena and Kimai. Shiree Lee.

Too awful. A total star. Mahina was an absolute delight to work with at the 2006Welliesarebest Fest. Clear and yet unassertive about what she needed in order to be able to perform at her best, and did she deliver. Very fond memories of her back-stage antics, her mime behind the compere, Mary Kippenberger, and leadingthe entire marquee in song. Lots of lovely off-list messages from time to time; I'll miss her heaps. Sue Ikin.

Ae. Tetahi whetu maharamatanga ia! Me he tui korokoro. E waiata kohau, enoho ai, e moe. Yes. She is a shining star! With a throat like a tui. Sing for no reason, rest, sleep. Diana Grant-Mackie (An admirer)

A very sad day as you have said - we were all very very fond of Mahina and have wonderful memories of her at the Canterbury Festival where she endeared all who met her. She was a truly inspirational human being and outstanding performer.May she rest in peace. Kathy McDonald

I heard the news from Mike this morning. She was a great friend, irreverent, irrepressible, disrespectful of boundaries, musical or otherwise, startlingly gifted and the most unpredictable stage performer I’ve seen in NZ. She’d have you in fits backstage, and then she’d go out and tear you up. And that voice. She couldn’t stick to a set list and that was one of the things we came to love about Mahina, unless you were playing with her. Like Mike, and probably many of us, I never knew any of her family, just hung out with her at festivals. My sincere condolences to Mahina’s whanau. Slan, Bob McNeill

Sincere condolences to all those close to Mahinarangi. She has touched so many people and left behind a legacy of love and beautiful music. I don't think I know of any musicians who haven't been warmed by her presence. Her smile could light up a cathedral. She seemed to know everyone and yet retained her natural shyness and humility. The collective fellowship of musicians and singers will miss her enormously. Rest in peace, Mahinarangi. Dave Hart

Mike Moroney and others have articulated the senses of shock and loss I feel at learning of Mahinaarangi's death. I think it was Bev Young who pointed out that, as we get older, we experience and expect regular reports of deaths of friends and acquaintances - though I don't think we ever get used to them.
Among the legacy of wonderful music and memories that Mahinaarangi left,is the sharing of her culture. The mad lesbian mongrel mum gave of her Celtic, Jewish and Maori legacy openly and willingly.

In my experience, folk audiences are amongst the most catholic and supportive of all. Yet among the performances of British folksongs, Celticdances, blues, bluegrass, contemporary compositions and world music, I've seen relatively little Maori music. I'm not sure why: in my limited experience, there seems to be a great similarity between the vibe in awharenui and that in the marquee at Whare Flat and other festivals.

Mahinaarangi was one of the few that crossed the divide. Others include Godfrey Pohatu (also gone from us) and Maaka and Karina Laws. I'm verygrateful to these people, all of whom have radiated love/aroha, and been supportive in my bumbling efforts to learn about aspects of Maori culture.

It may be that members of other folk clubs - particularly those in thenorth - have a different experience. In any case, I hope that we cancontinue to encourage and support those who bring Maori and Pacifica culture to our clubs and festivals and, in some way, keep that part of Mahinaarangi's legacy alive. Marcus Turner.

I'm so sad to have to say goodbye to our dear friend Mahinaarangi. I loved her to bits. I recently had some really nice contact with her in Auckland. She turned up at my gig at Titirangi and got up and sang some harmonies with me and Martha Louise. Then I went round to visit her one evening and we had a really goodtime reminiscing about old times and catching up. If I'd known it was going to be the last time I would see her, I would have bundled her up in my arms and refused to let go. Kath Tait.

I first met Mahina through this list… She was my one consistent educator, supporter and friend on the list, and would let me know when I needed to calm down and not take things to heart, and defend me when she thought I needed it. She was discrete… she would never publically humiliate people and was very sensitive to what people needed to hear. She is woven into this little community and that can never be undone. She remembered everyone by name and circumstance, and you didn't need to earn her love, trust and respect as she had bucket-loads of it for everyone.

She was amazing on stage. She was amazing off stage. She was just amazing. The first time I met her face-to-face was at Whare Flat in 2004/05 and that just solidified the friendship that had already started. Then at Wellyfest in the following October (I think) I was standing at the back of the marquee when she sang and it was so magical that you could almost hear the crowd breathe. I believe Over the Rainbow was the clincher.

In the last few years, I have spent quite a few memorable evenings at Mahina's house, playing music and drinking tea, but mainly chatting till far too late. These visits were usually in preparation for gigs but we never got a lot of practice done! I'll never forget the road trip we had over to Thames for a gig last year, everything was fun with Mahina. We arrived just as the gig was supposed to start as we had forgotten the information and after zooming around Thames looking for posters we arrived in the nick of time, and we had a really good weekend.

Mahinarangi was my mentor. We never talked about it like that, because it would have embarrassed her… but we both new it. She taught me about music, how to deal with people when I found them difficult but most of all she taught me about life. I'll never forget her love and friendship and she'll stay in my heart forever. What a special lady. Mahinarangi – arohanui e hoa ma. Laura Quinn

I've been impressed and touched by the tributes I've read on the list and elsewhere, and find myself lost for words myself. What is clear is that we all knew the real Mahina - those qualities of the person and the music were no artificial public construct, they were the magnificent human being who showed you don't have to be perfect to be an inspiration. Ours has been a very sad household these last few days, as Jenny and I have pondered on how lucky we've been to know Mahina. Farewell, farewell. Tony Ricketts

I am deeply saddened and moved today to hear the news of gorgeous Mahinarangi. I feel like crying but i dont. Still seems unreal. My heart sends much warmth to her daughter partner and family though i dont know them to do this personally. I am so so glad I knew her. Wish i could have said goodbye or told her how much she has inspired me and how much I admire her and to thank her for her generosity to my kids, to me, to all sorts of people. Wow, what a huge loss. So many circles of people will be celebrating her, missing her and grieving. What an absolute gem. In sadness and in celebration. Sarita Murdoch

Just wanted to add my voice to the many who know just how much we have lost. We are all richer for having known Mahinarangi, with her sparkling eyes, her mischievous laugh and her extraordinary voice. I didn't get to see her very often, but I will sorely miss knowing that she was out there, courageously sharing her songs, her heart and her lovely smile with the world. Brenda Liddiard

One of the great things about growing older is supposed to be the wisdom we obtain. One of the worst things about growing older is saying goodbye to dear people who pass on out of this world, friends who have touched our hearts and lives in some way. Mahinarangi Tocker was one of these friends
and a chunk of sparkle has left this world with her passing. Everything people have said of her on this list is true. She was all those things and more, generous, funny, a bit rude, proud of her Maori/Jewish/lesbian lifestyle, proud of her loved ones, kind and gentle, fierce and stroppy. Most of all, she was gifted. Gifted with talent, with a way with people, with the ability to see below the surface of situations and of the people around her. Her lovely voice is stilled, but she has left us a wonderful body of work and loads of memories to be going on with. Deepest condolences to her partner, her daughter and all her family. Mahinarangi will be sadly missed by all her friends in the folk music world as well as elsewhere in the music scene. Sing with the angels, lovely girl. Beverley and Alan Young

Mahinarangi knew me! Mahinarangi knew my name. Mahinarangi remembered stuff about me. Mahinarangi had many friends, but still she knew my name. So I count myself lucky to also have known Mahinarangi. To have laughed with her and heard Mahinarangi in full flight playing music. What joy to have known and be known by someone like Mahinarangi as we say in Lancashire "eee they broke the mold when they made that one", that is to say Mahinarangi was a treasure and unique and willl be greatly missed. My heartfelt condolences to Mahinarangi's family. Tony Smyth

Mahina is back at her home now, 64 Glenmarine Parade, Glendine. Her Auckland friends can visit her there. At dawn tomorrow she will go to her marae in Taumaranui (it's on the main trunk line). Kauriki Marae, Ngapuke Road, Taumaranui. Mahina and the whanau will be there from 12pm Thursday 17/4/08. The service will be at 11am on Saturday 19/4/08.
There will be a gathering to sing and tell stories on Friday night, with marae sleeping space. "The family would love to see all who have shared in her life."

The whanua are welcoming all at Mahina’s whare in Glendene. Food and cuppa tea are on hand.

Ngāpuke Road is off Highway 41, between Turangi and Taumaranui, East of Pungapunga. There will be a notice in the paper tomorrow.. Her funeral service and burial will be on Saturday morning. Those wishing to visit her on the marae should gather off the marae and wait to be brought on.

NZ Folklore - Swaggers

From the nz-folk list:

I'm sure that you are aware of those excellent books by John A. Lee of the New Zealand swaggers - the colourful itinerants who roamed New Zealand in pioneering days seeking a living from doing odd jobs on the farms.

Many were returned soldiers from the Crimean War. Most were down on their luck and had to scrape a living using their wit and ingenuity to earn a crust, a drink and shelter for the night. Their honesty and integrity was legendary, but like the Irishman 'The Shiner' from County Clare, putting over a fast one on a publican was always good for a free drink - usually a shot of Jamieson.

Some were accomplished entertainers - step dancers, musicians, poets and balladeers.

The Shiner was an expert Irish jig dancer, and frequantly would win the various step dance contests at Caledonian Scottish Games etc. Indeed his exploits are the first references that we have for Irish step dancing in New Zealand. It remains for enthusiasts to search for further references to his exploits in the old newspapers of the times.

Meanwhile here is a lecture by John A. Lee rescued from an old recording - dating back to the 1960s. Incidentally his books are still in print from Amazon - "Shining with the Shiner" is a good one.

http://chrisbrady.itgo.com/nzfolk/nzfolk.htm

http://chrisbrady.itgo.com/nzfolk/swaggers.wma (12.96Mb / 55mins : 20 secs)

Chris Brady

P.S. If anyone has a more complete version please let me know. The ending kind of peters out a bit. Also if anyone knows where and when it was recorded please let me know. Maybe it was one of Frank Fyfe's recordings?

Songs of Sweated Labour

From the nz-folk list, John Archer writes:

Attention has been drawn to the sweated labour of young girls in South China. There are several New Zealand folk songs denouncing this abomination.

From Neil Colquhoun's Song's of a Young Country

Who robs the young girl of her right
by work that takes her day and night
to earn her poor starvation mite?
The sweater.

Who is it that will cheat and lie
and every cunning trick will try
his greed of gain to satisfy?
The sweater.

He is society's disgrace
and must be told so to his face
so out with him. Leave him no place
The sweater.

From Rona Bailey's Shanties By The Way

In the lands beyond the sea
where Khan and Sultan rule
Where they drink their coffee thick and black
and sip their sherbet cool
They have white Circassian girls for slaves
as well as nigger black
And now it seems in our own free land
that slavery's coming back.
It's fenced about with common law
and given a pretty name
But despite the paltry wage that's paid,
it's slavery all the same.

Such a good woman is Mrs McFee,
toiling with voice and hand
In the cause of the little Chinese girls
away in a distant land
Such a good woman is Mrs McFee,
for hers is an open door
And her name's at the top of the charity list
for the wives of the drunken poor
But Amelia Jane has a hungry look,
with hollows under her eyes
She says she was starved. But everyone knows,
Amelia Jane tells lies.

Silly and light is Amelia Jane,
she has no ideas of her own
You would never think her the bright little girl
that you one once on a time had known
She was clever enough when she went to school
she was pretty enough in her way
She hasn't improved, her schoolmates think,
when they met her in town today
It's all her fault, for whatever the cause,
I'm sure that Mrs McFee
Is a model mistress in every way,
and with that you will agree.

And my aunts taught me this song - there was a young boy on a the next
farm to theirs in South Taranaki in the 1920s who worked from dawn
until after dark seven days a week.

One day when I was out of work a job I went to seek
To be a farmer's boy ....
At last I found the very job at half-a-crown a week
To be a farmer's boy ....
The farmer said, "I think I've got the very job for you
Your duties will be light, for this is all you've got to do....
Rise at three every morn, milk the cow with the crumpled horn
Feed the pigs, clean the sty, teach the pigeons the way to fly
Plough the fields, mow the hay, help the cocks and hens to lay
Sow the seed, tend the crops, chase the flies from the turnip tops
Clean the knives, black the shoes, scrub the kitchen and sweep the flues
Help the wife wash the pots, grow the cabbages and carrots
Make the beds, dust the coals, mend the gramophone....
And when there's no more work to do.... the rest of the day's your own"

http://sniff.numachi.com/pages/tiRESTODAY.html

I would like to feature these on the NZ Folksong website and I would welcome any song-writer's compositions on the current New Zealand practice of conspiring in the deaths of young Chinese girls by buying sweated goods.

Thanks
John A

A True Heritage Instrument

From the nz-folk list, Noelle Jakeman writes:

"I am trying to find out about my randfathers kauri timber elaborately Maori wood carved lap steel guitar with paua shell inlay and all original 8 ivory keys which has been handed down to me. It opens out in the back and the electricals inside are in need of repair and needs new strings however the body is in excellent condition and is a beautifully handcrafted instrument. My mother had bought it for my grandfather back in the 1960's from a music store in Queen Street Auckland called 'Harmony House' which has since closed down and no longer there. I was contemplating selling it and had emailed images of it to vintage guitar dealers and collectors overseas and was surprised to get some very interested responses that it has since prompted my interest to find out the guitars origins and history. I did manage to speak to a local lapsteel guitar enthusiast here in Auckland who had mentioned these guitars popularity back in the 50's and 60's with country and western and Maori showbands and I've been trying to make contact with other NZ music stores in the hopes finding out more about these guitars as well, anyone there able to shed some more light on these guitars for me?"

John Archer wrote:

"That carved Hawaiin guitar a piece of folk history. Haere mai, everything is kapai - Daphne Walker - Sam Freedman - Johnny Cooper and His Range Riders.
"The expert on evaluating and repairing that is Simcha Delft in Otaki.
Eight years ago artist Michael Parekowhai put on a fancy installation in a
posh Auckland gallery with ten beautifully made f-hole inlaid paua
guitars. Maori bro's sat around on beer crates playing the guitars while
Jafa glitterati stood around drinking champagne.
"Parekowhai was commenting on the detribalized de-cultured urban Maori of the 1960s. But Noelle's lap-top is a much more poignant relic of that
time. Once Were Warriors - Paradise Lost."

There were a few other posts imploring Noelle not to sell it, to which she most eloquently replied:

"Greetings all,
Thank you all who have responded to my inquiries about my grandfathers lap steel guitar with some great advice and wonderful information. To perhaps answer some of the questions some of you may of had about my earlier notice and intention to sell the guitar I hope the following will offer you some insight. The guitar was a a gift my Mum had bought new for her Father around the 1960's from a music store in Auckland. It is a well loved family instrument and I've been told that my grandfather and muso granduncles would play this guitar and have jam sessions back in the day.

"It is a well loved family instrument and being Maori myself I am aware of the importance of family taonga and have discussed my intentions to sell the guitar with my Mum who had handed the guitar down to me. The guitar has been in my care for a few years now and I've been able to admire its beautiful craftsmanship and uniqueness however as I travel a lot and have very few personal possessions I would much prefer to have the guitar in someone elses care who'd appreciate and hopefully play it again.


As a recently self employed artist relying totally on the income from my artwork this is the only item I have of value and I know that should I eventually sell it, it would help a lot toward much needed tools and equipment that I need to continue making my work. I believe this to be an honorable purpose for selling the guitar and my Mum has given me her full support as well. I plan to make sure that should it eventually get sold it's to an appropriate person that will appreciate care for and hopefully get it playing again.

It's only been just over the last week that I've made inquiries to various NZ music/guitar stores and sites along with vintage guitar dealers and collectors overseas trying to find out a little more about the history of these guitars and an idea of it's value. So far most of the responses I have received back have been from the US and UK. All have been guitar enthusiasts who've only had positive things to say, and as well as admiring the Maori carvings they've also been really helpful with information about the lap steel guitar as an instrument. I have been involved in the Maori visual arts scene for many years now and am very aware of the exploitation of our Maori taonga and imagery and others ignorance as to the importance it is to our people. However it is a family taonga and I have asked the appropriate person in my whanau to do this, the notices I have sent out has been in no way to exploit or disrespect my Maori culture and I too believe that this is a wonderful piece of our NZ music history and would like to eventually find a good home for it. Regards, Noelle

Tommy Makem dies age 74

From the nz-folk list:

Irish singer, songwriter and storyteller Tommy Makem has died after a long battle with lung cancer. For over fifty years Makem entertained the world with self-penned songs and Stories. Makem died in Dover, New Hampshire (USA) where he lived.

Makem grew to international fame with The Clancy Brothers in the late 1950s and 1960s.

Listen to Clancy Brothers and Tommy Makem:
When The Ship Comes In' (YouTube)
'Ballad Of William Bloat' (YouTube)
'Red Haired Mary' (YouTube)

VIEW PHOTOS: Makem's career spanned more than five decades
TALK ABOUT IT: Share your memories of Makem's life and work
ARCHIVE 11/21/06: He still sings to Irish ears
On the Web: http://www.makem.com

From Wellington

From Barnsey:

"Dear all nz-folk,

"Firstly some breaking news - Tim van Eyken has had some great news in that he has been offered a part in the National Theatre Christmas production. It's a direction he has been wanting to go in for some time, however as it means solid work from August through February he won't now be able to attend our festival this year. So we're following up a couple of options and will let you all know what eventuates.

Tim is re-arranging his flights to come out next year instead, and hopes to be able to be in the country rather longer. Secondly, get booking for the festival to take advantage of the earlybird discount and especially if you want bunks. Go to the website http://wellingtonfolkfestival.org.nz/ and go to the Registration page. I'm looking forward to seeing lots of you there...

Cheers, David
http://wellingtonfolkfestival.org.nz/
http://morrisdancing.org.nz/

YouTube posts on the nz-folk List

Anton Karas plays Zither
http://www.youtube.com/watch?v=gFz79SBnuk8
This is a most amazing piece of footage - you'll know the playing for sure. I bet you thought it was a guitar!.

Jake Shimabukuro plays "While My Guitar Gently Weeps"
http://www.youtube.com/watch?v=O9mEKMz2Pvo
Who says ukulele is not a serious instrument?

John Fahey - 1969
http://www.youtube.com/watch?v=lP3hY8HQFSE
"American primitive" open tuned guitar styles explained and played.

Bothy Band from 1977
http://www.youtube.com/watch?v=XgXwIIHAmaw&mode=related&search=
Kevin Burke (fiddle), Triona Ni Dhomhnaill (vocals, clarinet, harmonium, keyboard), Michael Ni Dhomhnaill (guitar)

Paul Brady playing Arthur McBride, 1977
http://www.youtube.com/watch?v=cBGkhPx529g&mode=related&search=
"Beautiful Pat, just beautiful. Genius at work. The album is still on my
most frequently played list - a treasure trove of stunning music. Lots
more clips of Brady there too. Thanks mate - Tony Hillyard"

The Ukulele Orchestra of Great Britain - You Dont bring me Flowers
http://www.youtube.com/watch?v=9ba1e9GkI4c&mode=related&search=
Who says ukulele is a serious instrument?

A Small Diversion on the NZ Folk List

Brian Dooley writes:

This all reminded me of the Bog Pipe, a classical folk instrument that I recall from schooling in Britain. I went to Amersham College of St Thomas a Becket, on the outskirts of London. Despite its impressive name, Becket School (called thus, as there was another Amersham College) was largely made up of prefabricated buildings. To complete the picture, I remember when my friend Jeremy, alias Stick, threw his father's WWII bayonet into the wall between classrooms and it collapsed.

But there was one permanent building made of stone blocks from an earlier era; of course, this would be the loo. It stood by itself, and had been re-plumbed from something else many years previously. Now, this having been a part of a larger complex, and the materials being ancient stone, the original plumbing still ran through the walls and exited through an open pipe that would have connected to the previous building. Young criminals in waiting that we were, the player would wait for a visitor to visit this loo, and, whilst he was comfortably ensconced upon the throne, would submit embrochure to pipe end, and blow a furious tune in the manner of a bugle. A terrible moaning would erupt throughout the small building, and the walls would literally shake. The terrified visitor generally came flying out the door, whilst the player of the Bog Pipe, now away from the dread instrument, would look on quite innocently - doubtlessly infected with a multitude of cooties from the mouthpiece, and yet, content in the results of his recital on that grand old organ!

The Wrong Trousers

http://www.youtube.com/watch?v=M9Qi3gApUWc&NR=1


http://www.youtube.com/watch?v=VSUX9byu6NY&mode=related&search=


Couple of YouTube clips of a great young trio - double bass, mandolin and harp.

Folk and Country

A while ago, somewhat unintentionally, I chucked a hand-grenade into the nz-folk list. There was a post, mentioned in an earlier blog:

"Folk? The Warratahs? They are listed as a Country band."

To which I somewhat rashly replied,

"Something I notice that we have trouble getting our heads around is that country music is the folk music of this country."

The response was astounding, from those who thought I was joking to those who were indignant and miffed (and those who agreed and told me so quietly in the background).

"Mike, I am guessing that you are teasing when you say that country is the real NZ folk music, but I'll react just for fun... Country has always been a small, but welcome part of our folk music, but is hardly the folk music of New Zealand because it has always so commonly featured American culture: All that fake rolled-r accent emulating Texas, the whiny nasal singing about county jails and horses, the Stetson hats & braided clothes and boots with spurs. Contrast that with our our Swandris, stockmen's hats & oilskins & gumboots."

"I find it rather interesting that Bluegrass music is seen as part of the folk scene, whereas 'whinge and cringe' country isnt."

"There's been no mention of Victorian palour music or classical music which I think has had a huge influence of NZ music from the early days right through to the Verlaines and beyond."

"But to say it's THE main influence? I don't think country is quite a 'national' music here in the same way as in Australia. It's big and been around for a while, but so have brass bands and Highland piping."

"I tend to agree with Mike, Phil and Alan that country music has had a strong influence on 'homemade' songwriting in NZ, ever since it was the latest trendy music back in the 1930s."

"And as far as I´m concerned, country music stemmed from this celtic stuff anyway... don´t believe me?? Go out and rent Songcatcher."

I have no problem with any of this. I was talking somewhat historically. Back in the 50s and 60s as the folk revival burgeoned, folkies started looking at their own rich traditions; Ireland and Scotland had their celtic musics, America had its dust-bowl ballads and blues and appalachan traditions and so forth. New Zealand folkies, NZ being a much younger country, struggled a bit to find a traditional identity in their music. We tended to look straight past characters like Tex Morton and Cole Wilson because they were a bit recent, a bit twee and maybe, a bit naff. Paul Metsers wrote Farewell to the Gold to get the ball rolling in the NZ folk songwriters' camp, Neil Colquhoun collected some songs of a young country. Phil Garland wrote, resurrected and reconstructed contemporary and other material and so did Martin Curtis (these are the most noteable I can think of, there were heaps of others). We looked at our fields of gold and gum for old songs. But meanwhile, perhaps from as early as the 20's, there was a mainstream music that was being played in parlours, theatres, pubs and shanties that was "ordinary" and played with instruments of the day. A lot of formal music was based around the piano, but those songs that were based around more portable stringed instruments were undeniably "country" in sound.

Now whatever you choose as your folk music is absolutely fine by me whether it's based on a tradition or not. But when you're talking about the indigenous music of this country (with a respectful nod to the tangata whenua), it's country music that has been the mainstream music of the dock worker, the stockman, the tramp, the soldier, the miner and the digger.

Canterbury Folk Festival, Easter 2007

From the nz-folk list:

A quick report back on a very mellow and lovely Canterbury festival. Thanks to the organisers. It gets better every year! Or is that just me who gets to know more people every year and so enjoys it more? Quite a mixed bag of musicians this year, from an English trad feller through thirties swing to some younger local (and loud!) artists, all tastes catered for. Enda Kenny and his great band were my highlight - I just love the way Enda uses words and the naughty way he delivers them, and Lindsay is a GREAT backing fiddle player. Mike Mikaelides Moroney was an added bonus in the band at the final concert. James Wilkinson was in fine form, I've never seen him play with such fluidy and verve.

My partner Fran got some nice pics of him (and lots of other stuff), shortly to be up on the site music.nelson.geek.nz .

Chris While with the voice of gold added her own magic to the mix. There were also a raft of wonderful workshops, topped by the magnificent tunes workshop :) And the usual Easter delicacies like the blind date concert, fairy "bondage" grotto for the kids and the much-patronised coffee bar. I sampled a variety of late night sessions from serious diddly through to lovely English trad harmony, mmmmm.

The spoons were a great idea for meeting people, what a nice pickup line "may I spoon with you?" Thank goodness nobody thought of playing the damn things. And after four years of going to these festivals, I've finally learned how to stay awake until the wee small hours and then still be able to function the next day! My body must have acclimatised to the folky
atmosphere.

See y'all there again next year.

Jenni K

Russian Jack

From the nz-folk list.

John Archer wrote:
I was looking on the internet for details about the swagger Russian Jack (it may have been him who came through the Mangamahu valley in about 1948 and whose reclusive ways scared all us kids) and I came across an article by Wairarapa archivist Gareth Winter containing this quote from an 1880s ballad.

‘Oh, leave me not,’ the maiden cried,
‘To eat my heart in grief away.’
‘Let me depart,’ the youth replied,
‘I must go south to Peter Gray.’
The parson said, ‘My flock, farewell,
‘I must be going without delay;
‘And someone else can toll the bell,
‘I’m going south to Peter Gray.’

The article says the Ballad of Peter Gray became known among all the workers and swaggers of the North Island. He was reputed to have been a contractor, awarded a large contract to clear a substantial amount of scrub. He offered good contracts for workers and men flocked from miles around to work for him. But they had to buy their gear and food from him and they usually ended in debt.

There is also an 1860s comic American Peter Gray ballad, based on Blow Ye Winds of Morning, but there it is the girl who leaves the boy, and it has a different rhyming structure.
http://www.youtube.com/watch?v=kZOzatDEWp8
http://www.mudcat.org/thread.cfm?threadid=70606

I phoned Gareth Winter (who was most helpful) and discovered he had got his NZ Peter Gray quote from the book Swagger Country by Jim Henderson. So any of you who comes across such a book, you may find more of this interesting and well-written ballad. Has anyone already come across it? Phil?

Also, folk researcher Frank Fyfe used to live in Masterton, and if I remember correctly I was was told all his research was left in a box on the veranda of his house, and thrown away when he died. But Gareth mentioned that the Wairarapa Archive has a large number of Frank Fyfe's papers, although he doesn't know of any folk songs among them. The Wairarapa Archive database has this information that I have summarized here:

His papers reflect the wide variety of interests he held:

• the Greytown Film Society that met in the converted barbershop he and his wife Anne owned;
• his presidency of the Greytown Folklore Society.
• researcher of the Wairarapa Branch of the New Zealand Historic Places Trust
• research into historical affairs in Wairarapa.
• the formation of the MAJIC, providing employment for middle-aged jobless.
• political causes, as can be seen by various Labour Party material,
• he stood for the South Wairarapa District Council, appointed to fill a vacancy in 1995,

Following his death the papers were gathered from various rooms in his house and deposited with the Wairarapa Archive. No order has been imposed on the papers other than keeping obviously similar records together.
http://202.36.183.68/cgi-bin/spydus.exe/NAV/ARC/BSEARCH/88/289181
John Archer

===============
John,
I am aware of the Peter Gray song and have a 3rd verse for you:-

"The farmer left his untilled crop,
He left uncut his crop of hay,
The woman wept, he would not yield,
But went down south to Peter Gray."

There is a chapter on Peter Gray by John A Lee in his book "Roughnecks, Rolling Stones & Rouseabouts" which is where this verse is printed. Lee states that "a road rhymster wrote hundreds of Peter Gray verses, which were added to by others as his infamy was disclosed> >From an old diary, I cull three verses........
Your original two plus this one!

It would be a most enlightening exercise to research John A Lee's papers, which I believe are deposited in Auckland University Library - feel free to correct me If I'm wrong! I also have "Swagger Country" by Jim Henderson.

Re Frank Fyfe's papers - it's probably best to talk to Michael Brown, who did a lot of research on Frank Fyfe, when writing his wonderful thesis last year. I believe only some of Frank's papers are in the Wairarapa Archive, mostly to do with his Wairarapa research and publishing. Nothing from his folklore collecting days.

None of the Folklore Society Field tapes and inter branch correspondence appear to have survived. The story I heard was that it was all stored in a box, that got rain damaged from a leak developing in the roof directly above. Everything was so damaged that it was unfortunately dumped. Such a shame/disaster in this technological day and age, when some of the important material may well have been retrievable. But it's no use crying over spilt milk - "Such is life" as a well known Australian republican was heard to say just before he departed this mortal coil.
Fortunately I made copies of most of my field tapes before sending the masters up to Frank in Wgtn for deposit in the Turnbull Library, something else that never happened.
Cheers
Phil Garland

===============
I think Gareth probably got it out of "Roughnecks, Rolling Stones and Rouseabouts" by John A. Lee.Over the last few years I've gone through the National Library archives looking for anything relating to Frank Fyfe's collecting, likewise the Wairarapa Archive. Neither have any of the original fieldwork (tapes, field notes etc.) of the NZ Folklore Society in Wellington. I've been told by a family member that the story about the box of stuff being thrown away after Frank's death is correct. It had been stored in a garage and the material it contained was discovered to be water-damaged. Luckily a few songs were published in 'The Maorilander' and 'Heritage'.The Wairarapa Archive has some of Frank's later field notes in it, but nothing pre-1975. And I didn't find any songs, apart from one he wrote himself about Robbie Muldoon (it wasn't complementary).Thankfully, it seems most of the NZFLS fieldwork done in Auckland and Christchurch has been preserved, thanks to the good efforts of Phil Garland, Rudy Sunde, and Angela Annabell.
Michael Brown

================
Sorry John, I forgot to mention that "Swagger Country" (1976) has two chapters about Russian Jack, which might help give you a clue whether he was the swagger you saw in 1948. Apparently he mostly swagged between Rangitikei and Wairarapa, including the Para Para road, which would have put him in your neck of the woods. He is described as:
"A tall well-built figure, he had a dropping Stalin-like moustache. He always wore a wide-brimmed felt hat... He always carried a huge pack."
If I remember rightly his battered, knarled boots used to be on display at the tiny Tinui museum near Castlepoint.

Michael Brown

=============
Your mention of Russian Jack, John, takes my mind back to when I was a child and Russian Jack stayed at our house. I was only about 4 and a half and we were living in a settlement called Homewood, on the East Coast of the Wairarapa. Dad was working as a roads labourer and for the rabbiting board. Interesting times for my young parents who’s minds still harked back to the time of the 2nd world war.

Anyway, we lived in this wee cottage in the middle of no where and my mum tended her 60 Rhode Island Reds and sold the eggs, and made her own butter… you know the kind of thing. Russian Jack stayed with us at least twice, perhaps three times. He would never sleep in the house, preferring the outdoors, so my parents made him a bed of hay in a redundant bathtub which awaited installation in vain on the back porch. He seemed a happy guy and not at all scarey, tho my sister said he smelled bad. I never noticed that. He had very intense eyes and leaned down to talk to us. He seemed to think we should dislike him which, of course, made us like him the more.

He did odd jobs for my dad, who in turn mended his boots, which were very worn and holed. And he had a curious layer of newspaper on his head and chest which he said kept out the cold, and wads of newspaper stuffed in his ears.To keep out the bugs, he told my horrified mother.
He was very deaf, so we all had to shout, but it could just have been the wads!

When he went off on his travels , the parents would fill his two billy cans, one with milk and the other with eggs and off he’d go with his billies dangling off his pack.

My parents liked him because he would milk the cows and stuff, but when another traveller turned up my dad took him in dislike and sent him away. He didn’t want to work, my dad said.
We found a wee pile of stones with an arrow of stones pointing to our house. Dad said it was a signal for a sanctuary on the road and that we should leave it alone.

My parents were travellers themselves , in their way, and shortly after Russian Jacks’ last visit we moved away. But it was a happy place with happy memories , and a large part of what made it memorable was Russian Jack.

Cheers, Beverley Young