On March 1, 2016 – after his February text conversation about the issues with Stuart Davie – English told NZ, as per this Radio NZ story that “he was not aware of any specific problems between Mr Barclay and his former staff”. A flat out lie.
You spelled 'months' wrong.
I suspect in ten or twenty years, kids will be amazed that "broadcast TV" was ever a thing.
I'd love to see it adopted as an emblem for NZ Music. For NZ On Air, NZMIC and others to band together to license it for use to denote "homegrown" at home and "straight out of Aotearoa" elsewhere. Not exactly a flag or a logo, but a badge of pride. And it would be money very well spent.
So if your conspiracy theory is right then why wasn’t that design one of the final four? Did “they” forget to manipulate the flag panel?
Silver ferns feature heavily, and Key's made it clear that his preferred design would feature one.
They didn't have control over who won the world cup, but they had complete control over the timing of the referendum. And three weeks after silver fern-featured world cup is absurdly close.
Does it seem tin-foil-hat-ish to point out how cynical and manipulative it was for the pro-Silver Fern govt to schedule the referendum for just three weeks after the (All Blacks favourited to win) Rugby World Cup final?
It was no accident, that's for sure.
I've seen The Clash, The Buzzcocks, the Pistols, Iggy Pop ... and Chris Knox performing post-stroke is hands down the most fuckin punk rock thing I have ever seen in my life.
Where do NZ publisher David Ling, politician John A. Lee or, say, English science writer Marcus Chown fit on Labour’s list? None of whom are, as far as I know, remotely Chinese but they, you know, “sound” it.
I’m sure it does apply to ‘indie’ producers in lots of places: if you’re not selling to a multi-national you’re selling to individual territories. Aggregators that can get you onto iTunes or Amazon are emerging – but these are often support for self-publishing – they aren’t picking up your thing and giving it promotional support in these other places it’s available. And it comes back to the only promo self-publishers can do being social media (and Kickstarter etc).
Some European countries are at an advantage having strong local markets – and unique languages. As an English language producer with a tiny domestic market, we have the worst of both worlds in some cases: if you’re buying English-language product, the choice is usually for the dominant voices (US, UK) over ours …
I agree with all of this post about the inevitability and importance of the borderlessness Internet, and I’m frequently cursing myself when something is ‘not available in your country’; Also the shutting out of legitimate use by special needs users is disgraceful.
I would just throw in to the mix, however, that the idea of –
being able to maximise revenue by selling country-specific rights
– isn’t just rich multinationals squeezing every penny out of their assets by doing shabby deals: for New Zealand producers of things like films, TV and books selling country-specific rights isn’t just revenue maximising but absolutely necessary to raise enough money to make the thing at all.
“Why not just do a world-wide deal?” would seem to be an answer to that problem – but what happens when those world-wide vendors don’t want something from piddly little New Zealand – they can’t see its appeal as being wide enough to bother – but individual smaller markets do? Often it’s our cultural cousins – like the UK and Australia – or it’s unexpected places – the Polish publisher that loves your work – that can be the difference between your project getting off the ground or not. It was a pre-sale to one company for NZ/Aus/UK rights that allowed me to make my first film, Black Sheep.
Like Russell says, we’re in the middle of a painful period of transition. Now NZ creators are caught between ‘why would I buy my territory when you’ve already sold Xxx and it will just end up everywhere anyway’ and the few big buyers saying ‘no thanks’ to our limited interest content. What territorial sales we might still be able to make are for much smaller sums than they ever used to be, that aren't adding up to totals to make the thing viable.
Sure, it’s a fact of life – but the territory-by-territory approach was a lifeline in the past to our local creators getting stuff out in the world that our home markets could never pay for, not just a relic of greedy conglomerates wringing extra money out of the outlying areas.
Messing with political rivals aside, surely this is a pretty big deal:
" Ede drafted official information act requests for Slater to use in other attacks, for instance against Ministry of Foreign Affairs staff who were in conflict with the government (Chapter 3)."