Posts by Jonathan Ganley
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Hard News: Friday Music: Saving the St James, in reply to
the reviewer clearly didn’t want to be there
It may have been more reserved back by the bar, but the reception the band got down the front was really enthusiastic. There were some young kids who had grabbed the stage front positions before the support band had even started, and they got right into it. One of them was holding the latest LP - I hope he got it signed.
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My photos of the Thurston Moore show at the Tuning Fork last Thursday are over at Elsewhere. I enjoyed it, other people not so much.
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Hard News: Friday Music: Silver and Gold, in reply to
The ODT interviews David and Bob about the nom:
Perfect. “Good on them. It’s a nice idea. It’s very sweet of them. Whoever they are.”
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Stellar - a series of installations for Matariki at Smales Farm on Auckland's North Shore. Worth dropping in for a look, the final night is tonight. This installation is called Field.
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There’s some impressive large scale images at the Trish Clark gallery by Jae Hoon Lee, the John Fields and Fiona Amundsen exhibitions at the Gus Fisher are worth checking out, and the ‘Interiors’ & ‘Mothers & Daughters’ photographs down at Silo 6 rise above the general gloom, wet floor, and cold and drafty interior of the venue.
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Capture: April Come She Will, in reply to
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Hard News: Friday Music: Out there in…, in reply to
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Capture: Eyes In A City - Gary Baigent's…, in reply to
Photos from Gary’s Unseen City book and more are going on show at Te Uru gallery in Titirangi, alongside a rare Rodney Charters film that features an unreleased LaDeDa’s soundtrack
Thanks for that Karen. Here's the link to the film on the Ngā Taonga site, including some commentary by Rodney Charters:
" ... We used a Fiat 500 lent to us by Bob Harvey. We took the door off for low angle tracking shots and could shoot 360 degrees by opening the roof. The Auckland band the La De Das agreed to lend us their music. They also did covers of the Yardbirds ... It was shown at the Sydney film festival in 1967. I achieved entry into the Royal College of Film on the basis of this film ... "
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