Ihumatāo Land Protection

As a teenager I belonged to a cycle racing club. We raced around the farmland on Mangere Central, up by the Villa Maria vineyards on Ascot Ave, through the Ihumatāo village and around to the old church on George Bolt Drive.

Cycling past the oxidation ponds and Puketutu Island through the farming community it was always the settlement that I remembered.

It was clearly a very poor community and I never knew why. I mean we were poor, but this was expert level.

Now, due to the occupation of the stolen land, I know why.

I was up in Auckland today and had the morning free so Noeleen took me out to Ihumatāo. We stopped first at Mangere Pak n Save to grab a koha of kai for the people and when we got their asked the police to help us transport it up through the road closure.

We had a good couple of hours walking around talking to people and took some photos to share.

I stopped a group on racing bikes and told them of my days racing these same streets and was happy to learn my old ‘track’ is still used for competitive time trials.

The scenery has changed some the early 70s. There’s a lot more industry out there. The landscape is still very much as it was though, the gentle climbs up the hill to the road giving a view of the island and the shoreline. The village remains almost unchanged.

When you see this stuff on the news the view is of conflict and confrontation.

But it’s not like that at all.

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The police we spoke to were cheerful and helpful, they weren’t sure why they were there and they would much rather be chasing criminals.

We got both sides of the story from the people, and there are always two sides.

But they are in it together, is how I would put it.

I was able to talk to a woman who knew my old Railways apprentice friend William Robert’s. She was his neighbor and went to school with him at Mangere Central on the Education Department bus. She told me William had passed away recently.

We walked up to the old homesteads and back again, a walk of a lot of memories, of the days where I had not much more to worry about than getting to the halfway point, turning around and trying to beat last weeks time.

All around the world we see scenes of conflict over land issues. Of sovereignty.

If we turn on talkback radio we here absolute rubbish from idiots like Sean Plunket telling us Ihumatāo is about revolutionaries trying to overthrow the system and trying bring down capitalism.

And idiots will buy this line of utter shit.

But today, across the spectrum of diverse views, we saw respect, aroha, and dignity.

We were welcomed and fed. There were old people, young people, children, dogs, families, individuals… all together just being there.

No dramas.

I’d encourage anyone, everyone, when you have some free time, to take yourselves out there. Take some food to share, take your kids to see it so they don’t grow up thinking g Maori land issues are from forever ago.

Remember Bastion Point.

Remember Ruatoki.

Remember Ihumatāo.

Annual Concert, 2019

 

Dave’s Whakatane Music Festival 2019

A fair few things have happened since my last yearly concert. The circle of performers from Whakatane has grown immensely and The Fuzztards have become a regular gig for me.

With the weekly Open Mic nights at The Office Bar and Grill I’ve met many new local musicians.

This year I was able to feature a lot more of that local talent at the festival plus I was happy to welcome back some of our regulars as well.

Jupiter Jones played this Festival for the fourth time. Jupiter has played and written music for over 35 years and plays an eclectic collection of songs. When he’s not playing music he also creates a variety of videos for bands and musicians.

His most controversial music video to date is the now infamous Planet Key animated video he created for Wellington musician Darren Watson prior to the 2014 general election.

Jimmy Rogers is from Maungakaramea Whangerei. Jimmy has been playing these gigs for 4 or 5 years now and he plays a down home style of blues with the kind of enthusiasm that makes his performances a great success.

Lutz Sauer is a Whakatane local but was born in Germany. He moved to NZ in 2010. Played drums in a Rock band at the uni. Then drums and background voice in a Country band in Germany. Started singing in front and playing guitar in NZ. Lutz is vice president of the Whakatane Country music club.

Mark and Deahna are a father and daughter duo from Whakatane who come from a whanau of entertainers.  Mark loves to sing and Deahna has the passion. Deahna has been in every school production growing up and sings every chance she gets. Deahna is doing gigs with dad.

Neil Gill Trio, Reuban Paraha, Fiona Cosgrove

Neil Gill Trio, Reuban Paraha, Fiona Cosgrove

Reuban Paraha is well known to locals with an extensive history of experience with local bands and productions. Rueban knows exactly what songs to play to any particular crowd.

Fiona Cosgrove needs no introduction but she’s going to get one anyway. Whakatane’s own soul and blues diva who is now a permanent part of Billy TK’s road tours, Fiona has been performing at Dave’s festival since they began in Whakatane. If you ask her ‘Where does your music come from? She’ll answer: ‘somewhere between heart and large intestine’ and Fiona is happy to follow her musical journey wherever it takes her, hopefully somewhere warm, with a good view and indoor plumbing

The Neil Gill Trio consists of Emily Hill (lead vocals), Andrew Solea (guita and vocals) and Neil Gill (keyboards, guitar, harmonica and vocals). They have been rehearsing together sporadically for a few months and this was their first gig as a trio. They have no aspirations for other than playing songs we all like, improving our musicianship, entertaining the audience and themselves.

The Fuzztards in full flight on March 9, 2019 in Whakatane

The Fuzztards in full flight on March 9, 2019 in Whakatane

The Fuzztards are Dave’s latest attempt at rock and roll immortality. Playing some of the loud and snotty punk rock songs he refused to grow up with, with his schooldays mate Robbie Lisdonk on drums and local punks Michael Fergusson on vocals and Robert Gillies on bass The Fuzztards put the Whak into Whakatane.

The House Band are Ali Morgan, Robert Gillies, Ian Hunia. You can see them every Thursday night at The Office Bar and Grill backing up all comers to the weekly Open Mic sessions these guys know every song ever written. In fact, if you ask nicely, they’ll even let you sing one with them. Don’t be fooled by the grey hair, these guys can rock.

With Virginia Jeeves as our MC and local musos Mike Kara and Reese Brown as stagehands the concert went off without a hitch.

Here’s a clip from the concert of The Fuzztards giving it a go.

Concert Review : Moone, Litt Park Theatre, Te Puke, September 28, 2018

Moone Has Arrived

, Moone Live Sept 28, 2018

Moone Live Sept 28, 2018

We first met Moone at a Whakatane Open Mic session one Thursday night. She grabbed the nearest guitar and played 3 songs. That was it for me.

I asked her to come and sing at my annual concert in February 2018 and she jumped at the chance. By this time she’d been joined by Tauranga guitar whiz Phil Reha who knew exactly what to play under Moone’s voice.

Fast forward to September 2018 and we’ve got a single and video to release at the intimate venue of The Litt Park Theatre in Te Puke.

About 200 close supporters, family and friends crammed in to see and hear Moone’s big debut.

And she blew us all away.

Moone has come a long long way since February. Her songwriting has been bolstered by Reha’s potent arrangements and licks. Subtle but solid his guitar sits just under her voice and only rises for sonic effect when it has to. Pounding at the back on drums is Silas Tawhara, just doing everything right and Phil’s nephew Josh Reha lays the bass vibe perfectly.

The concert was the debut release of the single DLB (drunken little bitch), a song fittingly about friendship and good times.

Along with the single release (Google) (iTunes) Moone also released the video of the song.

Moone isn’t new to the music scene, and it shows. She has got her style and sass all sorted and knows exactly where she’s taking this, and my pick is she’ll get there.

You may as well get in on it now ’cause you’re going to later.

Besides a good band, good support and good singing, the killer ingredient here is good songs.

Really, really, really goods songs.

Moone has arrived. The single and video are great, but I can’t wait for the album.

My favorite of the night was the rocker that closed the show, Rock Star Mum

I wanna be a rockstar mum
Get my hair and nails done
Lie down just for fun
And read a magazine
I wanna be a good time girl
Do what the hell I feel
Botox and a face peel
And buy myself a diamond ring

Enjoy the DLB video

Old Demos – Daddy Don’t Live In That New York City No More – Steely Dan

I recorded this about 22 years ago in my dining room studio in Clendon on a Foxtex X26 4 Track and a Roland TR505 drum machine. I wanted to see if I could play something really challenging.

I stuck to simpler stuff after this 🙂

Solving The Photofinish Riddle

Another recycled article from the old Exposures Online Website archives originally published 2nd March 2001


Letter to the Editor
March 2, 2001
Friday Flash
Editor,

Correspondence about the Photofinish in each of your last two issues has prompted us to reply.

For nearly 20 years we have been photofinish camera operators (both film based and digital) in the north. Our company (Northern Digital Photofinish Ltd) operates at almost all galloping, trotting and greyhound racetracks north of Taupo.

As contractors to the Northern Racing codes, we process most of the strip finish photos seen in the Friday Flash and all of the New Zealand photofinish images seen on the internet. These images are low-resolution copies of the high-resolution images used by the judge. We reduce them in order to show more placegetters.

How are the images formed? Unlike still, movie or video cameras, the photofinish camera has no shutter and there are no frames. The capture is continuous. In place of a shutter, the photofinish camera has a narrow line of sensors behind the lens, aligned on the finishline. Using a digital scan (up to 2000 times per second) the Finishlynx system continuously captures an image of the extremely narrow (approximately 5mm) strip of track, which is the finishline. In essence this is a photograph of time and whatever passes the finishline during capture becomes a part of that image. All parts (nose, tail, hooves, ears, saddle, jockey ? the lot) of all horses in the photofinish image are right on the line.


JUDGES LOOK … the same photo as above but at a higher resolution for the judge. This was a dead heat.

Your readers may have noticed that some horses have misshapen legs in some finish images. This is due to a horse putting it’s hoof on the ground right on the line. The hoof stays still as the horse passes over it. The hoof is captured for the entire time it is stationary on the line. Because the capture is continuous, the hoof appears elongated.

Because the photofinish image is the finishline captured over a period of time, it doesn’t matter where the line is placed. As long as it is parallel with the finishline it is always on the line. It functions as a point of reference assisting the viewer to judge which finisher’s nose reached the line first (or third or eighth or whatever). In the Finishlynx system the line is created digitally and is always in line with finishline. It can be moved to assist in placing finishers, but it cannot be tilted or otherwise manipulated.

The digital system is also used for race timing. Because it is a photo of time, it can have a start triggered automatically by the barrier gates or starter’s button. As the finish is captured, the time elapsed from the start is recorded. In this way a time is determined for each finisher and the margins calculated from these times. When a finisher’s time is taken from a beam broken by the finisher we can never be sure which part of the finisher broke the beam first. The Finishlynx time, on the other hand, is always taken on the finisher’s nose. The Finishlynx system prints and exports these results, which we supply as the official record of the finishing order and finisher’s times used by Racing Industry bodies, Clubs and the media.

All of our finishes are available as glossy colour prints and may be ordered from Northern Digital Photofinish Ltd, Ph 09-846 1802.

The Importance Of Being Eno

The Importance Of Being Eno

There are a couple of songs that were game changers for me.

As a kid I saw The Beatles movie A Hard Day’s Night and the idea of girls chasing me down the street had great appeal and I thought I should be in a band some day.

So every time I hear that first chord I am reminded of that moment. …>>>

…Continue reading The Importance Of Being Eno …>>>

It’s Bigger Than Texas


It’s always good to look back on something worthwhile because it reminds you that things that are worthwhile often take a bit of effort.

Since 2006 I’ve been staging annual music concerts. I’ve called them The Waikaretu Performing Arts Festival because they began at my little farm in Waikaretu.

These annual parties/concerts have been going on now since my old band mates from the late 70’s Dave Arrowsmith and Warren Cate and I dusted off some of our old punk rock songs, put a small vocal PA on the front deck at Waikaretu and used bedside lamps to light the way so we didn’t fall over each other.

Every year they get a little bigger, and a lot better. …>>>

…Continue reading It’s Bigger Than Texas …>>>

Once Upon A Time…

Exposures OnlineA very, very long time ago, when the internet was very young, I started building websites.

That stuff is easy now but back in the mid 90’s it was all very new.

I still do some websites, mainly for close friends and clients I have been working with for nearly 2 decades.

And I have always had Exposures as a personal website.

Exposures has changed a lot over the years and now it’s just a simple blog. back in the day it was an important website for horse racing people. It got awards. And stuff.

I used to write a weekly column in the old sports paper The Friday Flash called ‘Nothing But Net’.

I’ve recently moved servers and transferred a bunch of websites and in the process had to go through some old backups.

And I found the backup for the old Exposures website.

Some of the stuff on there is very dated. Some isn’t. Some may even be of historical interest to some people.

So I’m going to go through it over time and recycle some of the best bits of those years.

Enjoy…

Rewiring the telecaster

It was time to install some pickups in an old telecaster…

 

Vale Lou Reed

When I was 15 I used to work in the weekends picking tomatoes to earn pocket money. A day in the hothouses earned me $5 so every two weeks I could get on a bus and travel from suburban Mangere into Auckland City and buy a new record.

I was just getting into buying records then. One of the first records I bought was David Bowie’s Ziggy Stardust album.

Fuck.

Everything changed.

I went backwards through Bowie catalog to Hunky Dory and The Man Who Sold The World. Then I heard he produced an album by Mott The Hoople. I bought it.

Then he produced Transformer and I was introduced to Lou Reed.

I went back through Lou Reed’s catalog and discovered The Velvet Underground.

I bought a drum kit and formed a band.

Right from the start we did Lou Reed covers. I still do Lou Reed covers.

I have a concert at my farm every February. In 2011 my band was called Deja VU and Nico and we did only Lou Reed covers.

I think I have everything the he released, including the crap. That’s what you do when you are a fan. You even buy the crap.

I saw Lou Reed live in concert twice, in 1975 and in 1978. I took a cassette deck in to the ’75 show and still have the tape. I listened to it again yesterday.

This year’s father’s day I wrote a tribute to Lou Reed. He is the father of most of the songs I ever wrote. He was the one who gave me a voice and walked me through every step of the way. It’s simple. You play a chord, you say the line, you move down the page and you tell the story.

I knew he was sick, but I started to think he was never going to die.

But he died.

Age 71.

He leaves behind a body of work that is stunning in it’s depth and width.

I don’t have a favorite song or album or era. I just have a favorite artist.

Still.

Vale Lou Reed.

Lou Reed

Lou Reed