Posts by Robyn Gallagher
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They contained sound recordings which I couldn't open, but which I suspect (for various reasons) are NOT complete recording of calls.
When you phone the W&I call centre, there's always a message that says calls may be recorded "for our purposes". I assume those sound files are the result of such a recording. I'm still very intrigued to know what these 'purposes' are.
BTW, you know what's almost as scandalous as this network sharing issue? The W&I kiosks block access to Google Docs/Drive, which surely is an extremely valuable tool for a job seeker with no home computer.
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Just imagine if Ecoya candles used similar marketing in their prospectus. Something along the lines of "Hey ladies, you deserve to be pampered because aren't men useless? Don't they make your lives a shitbox with all their dumb demands and general helplessness? Well, you can make all that go away with a super premium smelly candle."
It would be awful.
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They want to capture the type of person who drives Aston Martins and wears bespoke suits.
But in New Zealand that's a tiny percentage of the population. I think what Moa are really aiming for are people who dream of driving an Aston Martin and wearing bespoke suits but can't actually afford it. What they can afford, however, is to buy some shares in Moa. By associating itself with luxury goods, Moa is hoping that some of the mojo will rub off and impress the ordinary middle-class blokes who are looking for a touch of James Bond/Don Draper glam in their lives.
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Would be good to see FN get on the front foot and get some new signings and not be seen as a ‘legacy’ label.
Amid all the news around the Universal-EMI merger, I read somewhere that legacy rock is a serious – serious – source of income for labels today. With the freedom of digital, dads (and mums) are free to stock up on the favourite tunes of their youth. I mean, the $100+ tickets for Morrissey aren’t aimed at miserable teens.
My big wish for Flying Nun is to get more old music videos online, digging out the old video tapes and getting stuff digitised. The Flying Nun YouTube channel is pretty good as it is, but the tug-o-DRM with Warners results in weird occurrences, like Bike’s much loved “Save My Life” video being hosted on the official Flying Nun YouTube channel, but it’s been geoblocked for NZ audiences by Warners. Not to mention all the Headless Chickens videos are (mainly) only available on the MTV Australia website (not NZ, oddly). That’s fine, except Warner artist Annie Crummer used to have all her videos on MTV until one day they disappeared, suddenly leaving a massive hole in the online archive of her videos.
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If I’m tweeting back and forth to @CMRanapia, well guess what, 1499 other people at my end just have to sit through that. I don’t wish that on people, but I don’t see an alternative.
That conversation will only show up in the timeline of people who follow both you and Craig. Those who follow both will presumedly be a little interested in your chat, those who don't won't see it. A non-follower of Craig can still your tweets to him in your timeline, but if someone is looking at your timeline on its own, it's safe to assume they want to see alllll your toots.
I’m loving adding my two cents to the Sunday night flurry of commentary over New Zealand’s Got Talent (#NZGT)
The #nzgt backchannel lolz is my current fave thing. I feel sorry for the person choosing the tweets to show on-air - all the best ones aren't fit for broadcast.
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And then we’ll have a little something I won’t tell you about yet. But it’s sexy. Literally.
Whatever it is, it's going to take a lot to beat Amanda Palmer's startling dance on the Webstock edition of Media 7 in 2011.
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I've just found a fascinating 2003 paper from the Ministry of Social Development titled Barriers to Employment Among Long-Term Beneficiaries: A Review of Recent International Evidence.
A popular image of a long-term unemployed person might be a fit young dude who'd rather spend his days smoking weed with his bros than working, and could easily join a road works gang tomorrow. But the report reveals it's more likely to be someone like a 45-year-old women who suffers from depression and stress (both of which are made worse by being on a benefit) and has an elderly parent to look after (or any selection of the many other barriers). And as much as she'd really like to have a job, there are so many things in her life making that really hard for her.
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Hard News: Reviews: #NZGT and the Herald, in reply to Jackie Clark,
I agree with Robyn that Idol was never going to work here. What serious musician of any ilk was ever going to go on a show like that? It had shit prizes and stunk just a little too much of over manufactured hype for it to take.
And now what's happened? It's just been announced that TV3 will produce a New Zealand version of the X Factor next year. This has already sparked a guessing game of which trans-Tasman hasbeen will make up the judging panel (though secretly one hopes it will be at least as quality as the NZGT panel).
But what will the show be like in Aotearoa? X Factor always seems to have room for more unusual singers than the po-faced Idol. Will pretty boys with wobbly voices find more of a home on the X Factor? Will L** S*** come back to NZ to audition? And will there be a TrueBliss theme week?
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Hard News: Reviews: #NZGT and the Herald, in reply to st ephen,
I happened to be in the Octagon on the day, and saw the limo pull up outside the theatre.
Being NZ's Got Talent, the "limo" is actually a Toyota Yaris! (Oh crap, the sponsorship has stuck in my brain...)
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Hard News: Reviews: #NZGT and the Herald, in reply to Russell Brown,
Think of it as a rare opportunity to see how this kind of television is actually made. It's not all in the editing, but mostly.
The Susan Boyle audition is a masterful example of this. It's sets up perfectly - it's noted there's been a lack of talent at the Glasgow audition, here'a a frumpy, bumbling but cheek spinster - it can't possibly be her, can it?. She sings, brings the house down and puts a smile on everyone's face, with subtle (and not so subtle) music cues guiding us along on this emotional journey.