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ask the same of anyone awake or woken up.
1: appear in court and behave
2: walk to the crime scene gathering a motley crowd of the slightly curious hoping for more action.
3: make a very short speech calling upon tony mccone senior human resources officer to resign within 24 hours if he believes the actions of ir human resources staff will not withstand the main code of conduct test of ‘the closest public scrutiny’
4: advise that because of the results of his incompetence i require payment in front of ir at this time tomorrow.
5: advise that if he does not resign and he’s found to have sanctioned any actions which arouse public disgust it’s 10 times his salary or everything he owns except his home.
6: give the commisioner of inland revenue one week to hear whether all actions can withstand public scrutiny – if not the same thing.
7: the next steps escalate to ir shifting all its banking to Kiwibankor another bank with nz ownership no matter what the cost and if they work theres leverage to change the world. You all helped!
I bet this is the first plan for world undomination transmitted by txt, facebook and hopefully youtube, if anyone films it
– let’s see anyone shut down fcbk youtube and txting in one week.
If this crazy strategy works we all work 3 day weeks and live better, all meaning NZ and the world – if it gets shut down then it was already too late, but then any opposition will be visible.
All the planets are in line and they won’t be again – forget scrabble and soaps – just for a day or so.
Huge thanks to all:
special mention to Amy, Ange, Alex, Ros, Steve, Joanne, Peter Hall-Jones, my union, and Emma Goldman.
The Aesthetics, Stevie McCabe and Bastardwisher =—–Wunderbar 28th July 2009
review by a participant.
PART UNO :
“Come together – right Now – Over me.”
Gen X . The original punks, methinks the youngest of the Exers gotta be something like 33 or something. Ands there’s the ageism already. And thats the last of it.
And the Ugly Ambition get’s uglier and uglier and with brill creamed quiff’n’quim in the air and the hooting hops and testosteroney we all thought it would fall to pieces.
But salvage they do and on comes he the Little guy – Littl’ Stevie McCabe and his gat’n’lappy, and blues as is orignal and as if as original and haast pass- haaart felt as you can linen! Blues, riff and mulch! Audio that is – up up up the Stevie! Cause the bastards they wish! And we’ve whipped it awl up! Ballad, plop and Kierkegaardens! Fellow puff knock colour dyke towels! Rockin on over to your best And Band tickle-me-punk! Roster, roster outward bound to be schtoopid in Mickleodeon ! Oi Oi! Harden up! They actually told me to wear a hat! And those ballads and blues sawngs kept -a comin’! And the adrenaline flowed like lava! and mines immunes seeestem did chatter unt chortle. And the nazis and the jews didst fooozball! And the ROXY musics did SHINE! Sax and all! And meaning went home for christmas dinner! Then the bastardwisher set dried up the air and it was special interest sessions abound. Flights of plunder-beato and post-bonk riffer-refer-ama all making us blush and sneer. Blush and heave-ho ‘harden-up’ skin skin oi oi ‘this ain’t ’76’ bitches snitches and ditches. Jobs and slobs. Hogs and Dogs. Ruffle the feathers of Sunni england. Because opium is live and dangerous and the answer to all you prayers. As is Saint Barnaby. Tracker. Akka Dakka. And next was The Aesthetics. Ruffed up and tuffed up and seering. And oh the agony. And I wanna thank ya.
part two AS soon as possibull!!!!!!!
At the recent MONSTER GIG at Christchurch’s glamorous crumbling Media Club, Bill Vosburgh handed Kawowski a single A4 sheet with a few paragraphs written on it all in capitals, relating to his earliest recollections of THE AXEMEN days in Christchurch (1983-1987).
Luckily he stuck around and performed an incendiary blues rock set that night, as well as jamming with Steve, Stu & Helm at 4am New Year’s Day out at South Brighton, and also playing a few songs on various acoustic guitars on subsequent visits to Kawowski’s seaside hideaway.
I REMEMBER WATCHING THE AXEMEN PLAY AT THE GLADSTONE AND THE FIRST 45 MINS CONSISTED OF STEVE FIDDLING AD INFINITUM WITH HIS ‘PAUL BUNYAN MACHINE’. AN ENTHUSIASTIC AMATEUR ELECTRICIAN, STEVE HAD SOMEHOW ATTACHED A FUZZ-BOX AND IT TOOK HIM THAT LONG TO FIX IT WHILE BOB AND STU MANFULLY IMPROVISED IN THE BACKGROUND.
AFTER A WHILE, THEY TRANSCENDED THE COMICAL AND THE PIECE BECAME A SURREAL EPISODE OF PERFORMANCE ART.
AS I RECALL, THE AXEMEN WERE INCREDIBLY PROLIFIC, AND THEIR RECORDINGS, WHICH WERE PRIMITIVE TECHNICALLY IN THE EARLY STAGES, CAME THICK AND FAST. THEY GOT SOME LIMITED SUPPORT FROM RADIO U.
STU KAWOWSKI WAS AND IS A MARKETING GENIUS AND PRODUCED NOT JUST T-SHIRTS, BUT TROUSERS, STICKERS ETC, AND PRODUCED A MURAL THAT STOOD PROUDLY IN CHRISTCHURCH FOR OVER 10 YEARS, AS WELL AS MANY OTHERS THAT DIDN’T LAST SO LONG.
ALL IN ALL I WOULD HAVE TO SAY THAT THE AXEMEN ARE ONE OF THE LOOPIEST AND MOST ORIGINAL BANDS I’VE EVER SEEN AND I’M GLAD THEY’RE BACK ON THE ROAD.
A NOTE ABOUT STEVE’S COFFEE WINE: STEVE MADE THIS COFFEE WINE AND THEN DISTILLED IT – STRANGEST ALCOHOL I EVER TRIED. IT WAS MORE LIKE A BARB, AND I RECALL WALKING ACROSS THE SQUARE AFTER A COUPLE OF SHOTS AND HAVING TUNNEL VISION!
-Bill Vosburgh Dec 2008
In 1988, Little Stevie McCabe and I spent most of May and part of June in the United States. The purpose of our trip was partly to perform, and partly to make and renew contacts on behalf of the record companies we represented (Sleek Bott and Onset Offset). We were both trying to get albums released by American companies, partly to overcome the problem of getting New Zealand records pressed, and also because the records of both of us attracted more interest in the U.S. than they did in New Zealand. Indeed, it always amazed me that I could get things reviewed in New York and Boston without difficulty, but not in New Zealand!
Before the trip, I had a number of expectations. For a start, I was under the impression that New Zealand music was currently sought after in a manner somewhat akin to the British Beat boom of the Sixties, although on a much smaller scale. I was surprised to find how much smaller a scale the interest was: most shops were as reluctant as the New Zealand ones to stock records released by small independent companies. The fact that New Zealand pressings were not sealed in cellophane didn’t help. One New Orleans, shop that had in the past exhibited enthusiasm for New Zealand music, had become disillusioned because it had not sold.
Few, however, gave the impression of having ever been remotely interested in any of it. The stock excuses were that the records had to be released through an American company, or that a shop could not buy records from anyone who did not have a vendor’s licence.
The latter had no apparent basis in law, as there were some shops that would buy stock from us, although sometimes they would take it only on a sale-or-return basis (“on consignment”) as in New Zealand. Onset Offset never received any money from such deals!
Onset Offset having received requests from American critics for records and tapes to review, I expected a greater interest from critics than one found in New Zealand, where a review copy sent to a publication occasionally resulted in a review, but was more likely to end up in the nearest second-hand shop. In this, I was not disappointed: my experience of American critics of independent records was that they generally turned out to be enthusiasts keen to build up their own collections in return for constructive and encouraging reviews in the magazines for which they wrote. Of particular note in this respect were Byron Coley of “Forced Exposure” and Fred Mills of “The Bob”.
As a performer, I expected the remuneration to be better than in New Zealand. While I was aware that New Zealand audiences were well known for their lack of response, I had no particular expectation of American audiences. As it happened, I was pleasantly surprised by the enthusiasm with which our performances were received. Americans, it seemed, understood what New Zealanders do not, i.e. that if a performer receives no encouragement in the early stages of a performance, it is almost impossible to build up any momentum, with the result that when the audience fails to indicate its approval or disapproval, the performance is likely to become more and more mechanical as it proceeds, leaving both the audience and the performer dissatisfied.
Whereas New Zealanders will sit like zombies waiting for the performer to win them over, Americans give one the benefit of the doubt and display enthusiasm from the start, which greatly affects the quality of the performance they get. As far as the money was concerned, however, it proved to be no better than in New Zealand. In San Francisco, where we performed and also worked for a promoter putting up posters, we were promised more for both than we actually received. Everyone in the music business there seemed to be perpetually insolvent, especially when it was time to pay performers.
My final expectation was that while there was likely to be more competition in America, there would also be more opportunities. What I found was that there was indeed infinitely more competition in the form of an unbelievable number of bands, most of which seemed incredibly well-rehearsed and displayed an energy that would probably have been frowned upon in New Zealand alternative music circles in those days. At the same time, however, each city seemed to have the same number of venues as a typical New Zealand city. While almost every band I encountered had a record out, there existed a similar situation to that in New Zealand where one could be revered by many who would do anything for you except buy your records.
Neither of us eventually found American companies to release our records, but we made valuable distribution deals, which at least ensured that our records would continue to be available in the United States.
As a performer, I am bound to say I would prefer to be in America than New Zealand. Nevertheless, in other ways I came to feel it was a nice place to visit, but an undesirable place to live. The ever-present beggars and hustlers were a nuisance, especially in New York, where one had to try to look intimidating to discourage as many of them as possible, and where any attempt at friendliness to a stranger was likely to be perceived as an attempt to get money from him/her. Also, despite being well armed at all times, I seldom felt very safe in the city centres, which seemed full of suspicious-looking characters.
On the credit side, I was frequently impressed by the friendliness of people of all races. Indeed, the racial problems we heard about were not as apparent as I expected. While I was there, I never wished I was back home, and my experience with Customs upon my return made me wish I had not bothered coming back: overzealous Customs officers seemed to think that anyone carrying a guitar case was a drug smuggler, and in a (fruitless) search for drugs they dismantled my guitar, went through my baggage and clothes, and took my souvenirs.
– Post by Ritchie Venus, Rock’n’Roll Idol, ruthless businessman, artefact collector, rnr analyst, film and popular culture historian, writer, singer, songwriter