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“On this auspiciouness ... this auspicacious ... this bloody great big occasion ...”

By meta

In the absence of a post of any sub­stance in the last fort­night, or so, I thought I would point you towards some­thing free-of-charge (actu­ally, you already paid via the meth­od we use to keep NZ On Air alive): the John Clarke/Sam Neill inter­view on Kim Hill’s Saturday morn­ing pro­gramme from Saturday 8 April. Apparently, due to the influ­ence of tem­por­ary pro­du­cer Mark Cubey, SatMng is now avail­able for podcast.

Describing it as a Podcast is a stretch, how­ever, as when you down­load the mp3 files (or sub­scribe via the rss) feed the files turn up with titles like “sat-4436F0EE-032” which is not help­ful if you want to play these pieces in the order in which they were transmitted.

But, in total, I have to applaud this entire pro­ject. In my life (I have no lifestyle) time-shifting is essen­tial or all your good work is for nought. The only piece of media (apart from All Blacks and West Ham games) that I insist on watch­ing live is Top Gear (on Prime at 7.30pm on Sundays) which enter­tains me bet­ter than any tele­vi­sion since The Magic Roundabout when I was a young­ster. Don’t start me on Sunday’s Bugatti episode…

So, the concept that great radio (or tele­vi­sion when they get around to it) is avail­able for me to listen to at any time of the day or night makes me very happy.

A couple of years ago I went to a great deal of trouble to try and record Charlie Gillett’s weekly “Sound of the City” pro­gramme off BBC Radio London’s realMedia feed so that I could listen to it at work (with all the inter­rup­tions it might take a whole day). But I had to cheat on the BBC deal and pay for some soft­ware that would let me record the show. I’ve been mean­ing to try and auto­mate the pro­cess so I could wake up with Charlie Gillett’s Saturday night pro­gramme in iTunes on my Sunday but I have been a bit distracted.

But, if any­one thought for a moment that listen­ing to radio (vir­tu­ally or real) hampered music sales I can point to Charlie Gillett and this file: the first track off Rufus Wainwright’s album Want One, of which I would not have heard unless I had been chan­el­ling Charlie. And it cost me NZ$34.99 and I regret not a cent of it.

iTunes Sentience (pt 3)

By iTunes, Music

OK, I know I haven’t fixed the col­ours but I’ve been away for a few days – the longest sus­tained absence of Internet in 10 years I real­ised yes­ter­day (A fam­ily wed­ding in Christchurch if you must know).

But this really is freaky: The Million Dollar Quartet’s 1956 ver­sion of Don’t Be Cruel fol­lowed by Elvis’ ori­gin­al. With 1745 tracks on that playl­ist to choose from, iTunes becomes a radio-programming-God.

Tuesday Allsorts #2

By Asides, Cats, Cinema, Cricket, Music

Alright then, while I am fid­dling with css here are some links to amuse and alarm you:

There, all of these are weeks late but none the worse for that I should­n’t wonder.

Tuesday Allsorts #1

By Asides, Cinema, Football, Music, The Net, Theatre

David Beckham 27 Feb 2006Why is this man smil­ing? “Er, Victoria, a pigeon’s just crapped on my shoulder.”
Presenting the first of my weekly (weakly?) lists of stuff I’ve stumbled across via the web over the last sev­en days.

Firstly, it is unlikely that I will be pur­chas­ing the new red England away top des­pite my being a prime can­did­ate (I bought the 2002 revers­able ver­sion and still wear the blue side). Even though it is un homage to the clas­sic 1966 World Cup win­ning shirt it’s still too busy for me. What is it with the little white “thing” on the right shoulder and the Umbro logo is as wide and prom­in­ent as the three lions? And they have per­severed with the tiny gold star which made the last shirt seem like it belonged to the People’s Republic of China. Anyway, on to the inter­est­ing stuff:

  • The Guardian talks to Underworld, Ray Davies, Pete Shelley, Richard X, Johnny Marr, Nick Hodgson, Rhymefest, Peter Hook, Tony Hicks, Gary Numan, Ron Mael and KT Tunstall about how some of their sig­na­ture tunes came to be:

The drum pat­tern was ripped off from a Donna Summer B‑side. We’d fin­ished the drum pat­tern and we were really happy, then Steve acci­dent­ally kicked out the drum machine lead so we had to start from scratch and it was nev­er as good.” (Peter Hook from New Order talk­ing about “Blue Monday”)

Not only is there a pre­ma­ture gear change after the second chor­us, but towards the end of the song there are a fur­ther two in a row. They’re so ill-advised that you can hear the nervous­ness in his waver­ing voice as he tries to res­ist each time. All it achieves, though, is the effect of everything going hor­ribly out of tune. I’m not abso­lutely cer­tain that the word “caco­phon­ic” exists, but that’s the most apt way to sum up this atrocity.”

255. Casting a black Desdemona along­side a black Othello is kind of miss­ing the point a bit.
256. The Montague clan are not ali­ens. No, really, they’re not.
257. No mat­ter how much homo­erot­ic sub­text has been built up over the course of the play, I will not end Richard II by hav­ing Henry pull Richard’s dead body out of a pool of water, hav­ing him pro­ceed to lie on top of it, and then roll, the one over the oth­er, all over the stage in com­plete silence until the cur­tain comes to hide them from the audi­ence’s bleed­ing eyes.

  • Finally, not only has someone in a fea­ture film got my name, he’s the title char­ac­ter – and this is a film with Bruce Willis and Ben Kingsley! Some people are used to shar­ing the same name as char­ac­ters on screen (I know an Anderson and a Harper who must be sick of it) but will be a new exper­i­ence for me.