Hard News: The Sound of Music
111 Responses
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I was at the Hong Kong sevens in 2001 and I nearly went stark raving mad. Imagine being there for three long days when they had clearly only brought the rights to THREE, yes that's right THREE songs which they played on a loop.
On was Tom Jones's Sex Bomb, there was one by a female American artist which I've forgotten and one other. And that was it. It was astonishingly cheap and shitty way to treat your punters.
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James Blake's album is bound to be on Chris Martin's dinner party records of the year.. I preferred his previous production work.
From what I've seen of the world cup games I can only agree with the consensus from twitter, but honestly I didn't expect much better. If there does have to be bad pop music I agree it at least should be provided from NZ artists.
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Russell Brown, in reply to
James Blake's album is bound to be on Chris Martin's dinner party records of the year.
Oh, don't be such a grump ;-)
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My Favourite Things...
Shame we didn't have a current RWC Minister (aka 'Killer MC Cully') engaged enough to micromanage the music as well, to ensure it showcased NZ talent and that the 'needle money' stayed here.
Hopefully Jordan Luck and the Exponents will get a small cash injection out of it all, but don't start me on the Feelers and their cover version... -
So, assuming an average gate of 30,000 and 20 opportunities for music in a match, then every time NZ score a try and they play "why does love do this to me", Jordan Luck makes $15.
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Imagine the power of a couple of hundred thousand 'likes' on a facebook page titled "start booing whenever the Black Eyed Peas play".
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Peter Darlington, in reply to
Nick Howells, 34 minutes ago
James Blake's album is bound to be on Chris Martin's dinner party records of the year..
Heh, is Chris Martin the new Bono?
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3410,
Shame we didn't have a current RWC Minister (aka 'Killer MC Cully') engaged enough to micromanage the music as well, to ensure it showcased NZ talent and that the 'needle money' stayed here.
Except the IRB owns the event. NZ is just the venue.
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merc,
The miracle is that rugby survives despite the IRB.
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If I had to listen to music played at games I'd be sending Etta round to Break up Somebody's Home..... in various ways.
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Kumara Republic, in reply to
The miracle is that rugby survives despite the IRB.
If people think FIFA is arrogant, they haven't had to deal with the IRB.
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I've watched quite a number of the matches on tv and, to be honest, I haven't really noticed the music. Except the mariachi trumpet, which I am quite enjoying.
Of course, I have the tv muted until the haka is about to start (if the ABs are playing) or until the ref blows his whistle to start the match and I keep the commentators voices sotto voce but I hadn't really noticed the music.
[And I am fortunate enough not to even recognise the sound of the Black Eyed Peas, although I have heard of them...]
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Megan Wegan, in reply to
Except the mariachi trumpet, which I am quite enjoying.
I HATE it. The game I went to, I got more and more annoyed with it, and the annoying Olé ! that goes along with it.
I don't understand what relevance it has to rugby.
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I agree with the basic gist of your post Russell, but expecting rugby people to know heaps about music is like expecting music people to know heaps about rugby.
Various musicians, writers, critics, label owners, radio people, etc, etc, may well be keen on rugby (and I know many who are, as I'm sure you do), but wouldn't be much good at, say, running an ABs training session, or helping Wayne Smith devise slick backline moves, or helping Mike Cron analyse the Wallabies' scrum for example.
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James Butler, in reply to
I agree with the basic gist of your post Russell, but expecting rugby people to know heaps about music is like expecting music people to know heaps about rugby.
I think the point is that Great Big Events claim to have a music person as a creative director.
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Peter Darlington, in reply to
I HATE it. The game I went to, I got more and more annoyed with it, and the annoying Olé ! that goes along with it.
I don't understand what relevance it has to rugby.
Didn't it kick off from the South of France RWC games? They usually have a full band at games there including the trumpeter.
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Now here's a good tune to welcome strangers to your neck of the swamp...
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Richard Wain, in reply to
The relevance of the mariachi thing is, everyone can't help but go "Wahey!!!" very loudly.
You sort of have to be there... though TBH me and anyone I've been watching any games with do it at home too...
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Bart Janssen, in reply to
the mariachi trumpet
It's a useful signal to get back from the loo.
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Richard Wain, in reply to
Oddly... many, many musicians of my acquaintance know a damned sight more than I about rugby. And football. Actually football even more than the oval ball code. But perhaps that's just musos being more well-rounded types or something...
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samuel walker, in reply to
It seems odd to me that out of the lanky, cleancut, pale, post dubstep contenders James Blake gets more press than Jamie Woon. Wayfaring Stranger, Night Air and Lady Luck alone beat any of Blakes tunes...
http://www.youtube.com/user/jamiewoon#p/u/9/EL0pTo9Z_XU
Woon is also far more open minded and experimental, which is important considering the soul/tech hybrid both do so well. Blake is famously anti remix, whereas Woon embraces any blend...
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TBH I'm such an old fart that I don't want any music at all unless it is generated by the crowd itself.
Of course letting the crowd generate music would be a breach of the IRB rules about having fun, Book 5; section 27b subsection 15a as updated in the 483rd amendment.
I know it's lost argument but at what point did it become necessary to play music to entertain the crowd ... from what I've seen the crowd are pretty well entertained by the Rugby ... well except for the England games.
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I completely agree that the particular songs being played at games are rubbish, and represent a missed opportunity to generate some exposure and funds for local acts.
But, I also think that as a package, the poppy atmosphere, the mariachi, the ole, the ominous TMO sound and everything else are contributing positively to the overall vibe of the events. At the Wales - Fiji game in Hamilton, the thing I aware of more than anything else was the degree to which the crowd bought into the overall sense of theatre and fun, quite unlike any other game I've ever been to before. Admittedly, this might have been due to the onesided nature of the game, but I also wonder if bringing the pop isn't helping to diffuse some of the darker aspects of nz rugby fandom.
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80s British soul funk by the likes of Maze
From San Francisco if we are talking the Frankie Beverley led band.
So, assuming an average gate of 30,000 and 20 opportunities for music in a match, then every time NZ score a try and they play "why does love do this to me", Jordan Luck makes $15.
He'd make more as he gets a fee for the recording as well (or at least a cut of that). Given that the song is being used everywhere (including on the current Air NZ international safety video) I suspect the IRB have played a fairly hefty blanket figure beyond standard performance royalties.
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Rich of Observationz, in reply to
True. I wonder how much the fee is per take-off.
If I was in a young band, I'd record a suitable tune just as a gamble on a comfortable lifetime income. Something like:
Waaaahey! Rugby! Waaaahey! Rugby!
etc.
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