Posts by Russell Brown
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Hard News: Getting dressed for the party, in reply to Paul Williams,
The AUD is very strong at the moment and I know a good number of Aussies heading your way.
And I, for one, welcome our new Aussie-dollar overlords.
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Hard News: Getting dressed for the party, in reply to recordari,
Also, glad to hear your experience was a good one Russell, because I went to the now infamous league game at Eden Park and it was every bit as bad as people reported.
Glad I missed that one. But I can see the Warriors moving to Eden Park, even though it's well away from their real support base, because it's such a well-set venue. Like I said, that neighbourhood has changed for good.
Personally, I favoured the waterfront stadium ...
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Hard News: Getting dressed for the party, in reply to Paul Williams,
I’m certain that’s true, I met Bernice Mene once, a number of years ago, and she’s charming. It’s the lame PR that’s the issue.
Quite. And I must confess that had I been asked – and there was no prospect of that – then I’d have had trouble turning down that plum little gig. I just rather doubt the effectiveness of it.
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Hard News: The Wall and the Paper, in reply to peter mclennan,
Thanks, Russell. Thanks, Chris. So, if Rob Sheilds’ story about it being a member of the public is incorrect, why did you claim to know the name of that person?
Er, don’t be hating on Chris, please. I presume he has the same name I do, but wasn't aware who that "member of the public" is.
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Hard News: The Wall and the Paper, in reply to peter mclennan,
Also, the Mayor said that “Council contractors mistakenly painted over this mural after a request by an Auckland Council anti-graffiti volunteer”. So it was a complaint from a member of the public, or this anti grafftiti volunteer that resulted in the destruction of Askew’s mural? Two different version sof what happened.
The mayor's is the correct one.
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Hard News: The Wall and the Paper, in reply to Christopher Dempsey,
What officers don’t know is that I know the name of the member of public.
Is that significant?
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Hard News: The Wall and the Paper, in reply to Heather Gaye,
His views offend me, but having him up for not offering a more nuanced or compassionate opinion in this instance feels tantamount to kicking a kid with a learning disability.
It's more that the Star Times will print this tosh with a straight face.
Laws has simply pulled this column out of his arse. He's made up facts to suit himself-- notably the bizarre claim that "we won't fund any programme or treatments that might arrest the potential for future offending". Apart from the internationally-respected specialist child sex offender programmes that have been operating in prisons for 22 years, does he mean? The various community treatment programmes and specialist psychologists?
He's found a target group that no one's going to feel sorry for this week, but the journalistically worthless nature of the writing is quite intact. And this drivel is key content for the SST.
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And meanhwhile, my life has been completed.
I feature in a Braunias column.
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Hard News: The Wall and the Paper, in reply to Danyl Mclauchlan,
Yes, there's a Laws column, although they've bumped it out of the lead spot with a guest column from a Canterbury school principal.
Laws' column is a confused rant about paedophiles.
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Hard News: The Wall and the Paper, in reply to Islander,
she has an idea
To be honest, there’s nothing more satisfying for me than having an idea and seeing it work. The last two Great Blends have been really good like that. I had a conscious moment a few hours before the one at the Civic last year of thinking “Right – the production works. Now it’s just about whether the creative ideas work.”
And they did. And for that to happen at any scale, it means other people making it happen too. For me, that’s about having a good intuition about what to ask of whom, and making sure I do my part with integrity and confidence.
I was actually really pleased about the way Blair Parkes’ music went at the OGB last week in Wellington. I have huge respect for Blair, and I’ve often thought that if I was curating a Late at the Museum, I’d bring him in to make sounds for those spaces.
As it was, the idea was to get away from DJs fighting our community’s natural urge to converse. So I asked him to do something tonal, rather than rhythmic. He ended up doing things people wouldn’t notice, but which were quite influential. From 6pm when the doors opened to 7pm when the show started, he shifted progressively upwards in key, for example. It literally keyed people up for the talk.