Podcast – Bilingualism in a single language-dominant society

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

UNESCO’s International Mother Language Day is on 21 February. In this episode Sally speaks with University of Canterbury and Growing up with Two Languages researchers Una Cunningham and Jin Kim, and activists/teachers Anya Filippochkina and Jawad Arefi, who discuss community/heritage language bi- and multilingualism in a single language-dominant society.

  • Part I: Defining ‘mother language’, ‘first language’ etc
  • Part II: Cognitive, professional and social benefits of speaking multiple languages; first language use among first- and second-generation migrants
  • Part III: Challenges to encouraging continued engagement with first languages in a single language-dominant society
  • Part IV: Recommendations to parents

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Podcast – Canterbury’s residential red zone

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

The latest episode deals with issues surrounding land in Canterbury that since the 2010/2011 earthquakes has been zoned red and no longer suitable for residential use.

  • Part I: Chief Human Rights Commissioner David Rutherford talks us through the impacts of the red zoning on people still residing in these areas, including in terms of mental health. With reference to the Staying in the Red Zones Report.
  • Part II: What has happened with the red zoned land since 2011 in Waimakariri District and Christchurch city? What are the differences between the various red zoned areas? What lessons can the Waimakariri experience provide for Christchurch?
  • Part III: Public consultation processes – what suggestions have already been proposed? Are people disengaged and how can they be re-engaged? What is the importance of the land for today and future generations? What do you hope to see happen with the land?

This show includes discussion with Simon Markham (Waimakariri District Council), Rob Kerr (Regenerate Christchurch) and Evan Smith (Avon-Ōtākaro Network).

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Podcast – Antarctica

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

The latest episode deals with issues relating to Antarctica:

  • Ice melt
  • Climate science and climate change – ice core research
  • Antarctic Treaty and international cooperation
  • Antarctica as a place – vistas, cold etc
  • The role of New Zealand and Christchurch in Antarctic exploration

This show was recorded at the Centre of Contemporary Art and includes discussion with Bryan Storey of Gateway Antarctica, University of Canterbury, Dan Price (Pole to Paris) and Karen Scott from University of Canterbury Law School.

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Podcast – Youth engagement in elections

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

This episode discusses issues around youth engagement with elections such as –

  • youth engagement in the recent NZ local-body elections and disappointingly low levels of voter turnout
  • contrasted with high levels of youth engagement in the American presidential elections despite those elections being less immediately relevant to the lives of young people in Christchurch
  • the role of memes (and social media in general) to encourage youth engagement – the positives and negatives of this type of social commentary
  • what lessons might be taken from these two experiences and brought to bear on the national elections next year
  • the responsibility of youth leaders in encouraging youth engagement in elections

The panel for this show includes host Sally Carlton, Tayla Reece Work of Youth Voice Canterbury, Tei Driver of Global Development Tour 2017 and Sofie Hampton of Christchurch Youth Council.

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Podcast – Organ harvesting

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

This episode discusses:

  • Stats on organ transplants in China; why are we talking about organ harvesting now when it has been going on for decades?
  • Differences between organ harvesting practices in China and elsewhere; lack of will from national governments to act; recent roundtable at New Zealand Parliament; need to apply pressure to medical and transplant professionals
  • Current action; possible deterrents; public scepticism
  • Actions worldwide; reasons why people might find it difficult to engage; terminology: ‘organ harvesting’ vs ‘organ pillaging’ vs ‘organ executions’

The panel for this show includes host Sally Carlton, David Kilgour (former Canadian MP who was nominated for the Nobel Peace Prize for investigating organ harvesting crimes in China), undercover journalist for book ‘The Slaughter’ Jaya Mangalam Gibson, and Robin Palmer (previously a specialist prosecutor of international organ harvesting operations and Professor, School of Law, University of Canterbury).

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Summer Writing School for Youth 2017

sfyw-summer-writing-school-poster-no-marksThe School for Young Writers in Christchurch is holding a Summer Writing School and Workshops, 16-20 January 2017. The Summer Writing School comprises a week’s worth of writing for teenagers, with special guest tutors alongside some of our regulars. On the final day students will get an opportunity for 1:1 mentoring as they complete a piece for the special magazine that they will produce.

There are also opportunities for younger children (Year 7-9) to let their imaginations loose in short workshops with James Norcliffe and Heather McQuillan on the 24th January. Information can be found on their Facebook page. (Please note: the years 4-6 sessions on Jan 23rd are now full).

We spoke to Glyn Strange, founding director and Heather McQuillan, associate director of The School for Young Writers about the Summer Writing School and Workshops:

Why go to The School for Young Writers throughout the year? Who is it for and what will they get out of it?

The School for Young Writers is for Years 3 to Year 13. Young writers get the pleasure of working with skilled teachers in groups of like-minded children. Regular tuition produces results. We also have a correspondence programme for those who can’t make the class times.

What kind of writing activities and exercises do you do?

Heather: Stories, poetry in all its forms, creative non-fiction, jokes, flash fiction, memoir, song lyric, play script, monologue, twists on genre, fantasy, slam poetry, whatever the children ask for and whatever our creative tutors can come up with.

Tell us about some of the tutors at the school.

Summer school tutor, James Norcliffe

Glyn: James Norcliffe is one of New Zealand’s most admired writers of poetry (Burns Fellowship and many other awards) and fiction for young readers. Heather is also an award-winning writer of fiction for young people as well as poetry, short story and flash fiction ( She is the current National “champ” in Flash fiction). Gail Ingram is New Zealand’s best poet for 2016 (New Zealand Poetry Society). Greg O’Connell is renowned for his interactive poetry shows  and poems published in the School Journal. Stephanie Frewen is an award-winning scriptwriter. The plays her students write are broadcast on Plains FM and many are preserved for all time in Radio New Zealand Sound Archives.

Can you share some top tips for youth who want to write?

Join the School for Young Writers (of course). And enter the competitions in our Write On magazine. Teenagers submit to Re Draft – an annual anthology of the best teenage writing in New Zealand.

What about young people who think “I’m no good at writing…”

Glyn: Some of our best writers said that when they joined us. We are not there only for the gifted and talented. People don’t know they have a talent until they try it.

Heather: Sometimes young people have not had the opportunity to express their own creativity through writing. Our programmes are “low stakes.” We don’t use rubrics, mark or judge writing. Our goal is to help a young writer develop a piece to be the best expression of their ideas. This is a joyful process.

What changes do you see in the students over the course of the year?

Glyn says the changes are “immense” and Heather agrees: “For some it takes a few sessions to warm up and let their ideas free. Once they do then amazing things happen. Learning that all writers redraft is often key to the breakthrough.”

Can you share some highlights from the School for Young Writers this year?

Glyn: The greatest kick for me was to see the change in a young writer who came to us writing very dark stuff. By the end of the year, eligible to enter our annual Re-Draft competition for teenagers, this person won a place in the 2016 book The Dog Upstairs. This nationwide competition is for writers up to university level, so it’s a great achievement for such a young writer to win a place.

Heather: This year we held a poetry reading event in association with WORD Christchurch and New Zealand Poetry Day. It was a thrill to see usually shy young people stand up and read their pieces with confidence. I also love working in schools and a seeing the transformation over two days as reticent, vulnerable writers realise that they have something worthwhile to write, something that others want to read. Standouts have to be a group of Year 7/8 country boys (never laughed so much in a workshop) and a gorgeous group of teenagers in Queenstown who were open, enthusiastic and extremely talented. They even gave up their Saturday to attend.

Your favourite authors writing for children and young adults?

Of course we love James Norcliffe! Most of our young writers are also avid readers and they recommend writers to us!

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Some of YOUR Top picks of books for youth in 2016?

Heather: Being Magdalene by Fleur Beale. I went back and reread her others. Anything Patrick Ness has written. I’m a bit behind on my YA reading having been a University student this year and reading the modernists. I’m looking forward to some holiday immersion in YA books.

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What drives you to commit so much passion for this work?

Glyn: All of our tutors do it for the love of writing and with a passion for ensuring the future of New Zealand literature.

The School for Young Writers is based at Hagley College. What’s the association?

Glyn: Hagley College offered to support us and we gratefully accepted. We are a separate organisation and a registered charity. Hagley is our venue.

Tell us about the publications the writing school is associated with.

Cover of They call me ink, Re-Draft 15Glyn: The School for Young Writers has always emphasised the importance of publication. Without it, writing is like a house without a roof. Write On magazine gives everyone a chance to strive for the pleasure of seeing their name in print and encourages them to lift their game as far as possible. The Re-Draft competition began when we had developed teenage groups whose work was good enough to publish in book form. Re-Draft challenges our senior students to pit their skills against the best in the country. The results are amazingly good. New Zealand literature is alive and well and has a good future. Your blog should include this.

What are some things you’ve heard the students say about their experiences at the writing school?

Glyn: You should see the smiles on their faces when they emerge after two hours of fun learning. They don’t need to say anything. It shows. The younger ones often excitedly share their work with Mum on the way home.

Heather: They keep coming back and stay for years. For some of the students The School for Young Writers is their safe place, they make special friends and can be themselves. We love quirky. We value individuality.

Check out what is on offer for youth at the Summer Writing School this January.

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Book to film: The Changeover

Cover of The ChangeoverMargaret Mahy’s young adult novel, The Changeover was already several years old when I first picked up a worn copy in my high school library at the age of 15.

I was so taken with it that even before I had finished reading it I was re-imagining it in my head as a movie.

In that peculiarly obsessive way that teenage girls sometimes are about their favourite things my mania lead me to imagined locations and camera angles, and I had a very long list of songs to be included in the soundtrack. Most of which, upon reflection, were terrible.

When Margaret Mahy died in 2012, I felt moved to write a heartfelt blog post about how important her writing, and this book in particular, had been to me.

A couple of years later at a WORD Christchurch panel discussion on The Changeover, I learned that a film of the book was in development and felt conflicted in that way that book fans often do. Because how could that film ever live up to the book, or indeed my own imaginary movie of it?

Stuart McKenzie is, with his wife Miranda Harcourt, co-director of that film which recently finished shooting here in Christchurch.

The Changeover directors Miranda Harcourt and Stuart McKenzie
The Changeover co-directors Miranda Harcourt and Stuart McKenzie. (Image credit: Dean McKenzie)

Perhaps not fully understanding the degree of my fangirl obsession, he agreed to answer some questions about what their version of Mahy’s story will look like.

Margaret Mahy wrote a number of terrific books for young adults – what made you want to film The Changeover particularly?

We felt The Changeover was really cinematic. It’s a supernatural thriller about a troubled teenager who’s got to change over and become a witch in order to save her little brother from an evil spirit. So, it’s got a great central conflict! And its genre is very clear — yet at the same time it puts this compelling twist on it by feeling very naturalistic.

Its themes of love, loss, sacrifice and change are primal. Laura Chant feels like a real person — she struggles with herself and her kind of dispossessed place in the world, but she’s got big dreams. In other words, she’s a complex and powerful heroine who our audience can really identify with!

Another thing that made the book feel so cinematic for us was Christchurch. We updated Margaret’s story to contemporary, post-earthquake Christchurch. For us, the brokenness and reconstruction of Christchurch is like a visual metaphor for Laura’s own damage and subsequent transformation.

The Chant home set
The Chant family home in the Red Zone (Image credit: Dean McKenzie)

The book (and Margaret Mahy herself) are very beloved, by me and many others. Does that place extra pressure on you to do a good job with the film?

All along we’ve wanted to make something Margaret would love: raw and lyrical, tender and tough and true. We wanted to keep the story feeling very contemporary, as the book itself was when it was first published in 1984. Like Margaret, we wanted to find the magic in the real world, not drift away into fantasy.

We were lucky to have Margaret’s blessing from the start. Before she died, she read and loved an early draft of the screenplay. So that was a great feeling to carry through the development of the project and into the shoot itself. She really encouraged us to find the spirit of the story and not be bound by the literal form of the book. We had this quote in mind by the great French film director Jean Renoir, “What interests me in adaptation isn’t the possibility of revealing the original in a film version, but the reaction of the film maker to the original work.”

I guess you could think of the book and the film as two reflecting worlds — much in the same way that Laura herself discovers the connectedness between two powerful realities — magic and the everyday — and finding in fact that they’re really one and the same.

Margaret was always clear that Laura’s changeover into a witch is a metaphor for her becoming a young woman, an active journey to embrace her own creative power. And Laura’s story itself is a metaphor for the challenges we all face in our lives and the changeovers we all have to go on in order to grow.

Oh yeah, back to the question about doing a good job… Yes, we really feel that! And we’ve still got a lot of work to do in post-production. Helps to have great people to work with, which we have.

On the one hand The Changeover, if you’re familiar with Christchurch, is very recognisably placed here, on the other hand it’s also very vague about where it’s set. The name of the city is never mentioned. The suburbs and street names in it are all made up. Christchurch is certainly its spiritual home, but you could make a very good argument that it’s not a story that needs to be specifically told here, and yet you are telling it here. What made you want to shoot here rather than in Auckland or “Wellywood”?

As you say, Christchurch is the “spiritual home” of The Changeover and we always wanted to make it here. I was born and bred in Christchurch and spent my early teenage years in Bishopdale which Margaret calls Gardendale in the book.

The Changeover was welcomed to Christchurch by Ngai Tahu in a moving whakatau — as a production we felt hugely embraced by Christchurch, the people, the Council, the environment itself.

Shooting in central Christchurch
Nighttime shoot in central Christchurch (Image credit: Dean McKenzie)

Miranda and I were determined to film in Christchurch because its flat vistas give the film a unique look. Cinematographer Andrew Stroud and Production Designer Iain Aitken helped us reflect the everyday and often unexpected beauty of the place.

Christchurch also allowed us to explore the division between social worlds which is a key feature of The Changeover. Laura comes from a solo-parent family struggling to make ends meet. By contrast, Sorensen Carlisle lives in an architect-designed home with fine art on the walls and a sense of history and sophistication. The developing romance between Laura and Sorensen means first differentiating and then bridging these two worlds.

Mahy herself described The Changeover as having a lot of folk tale elements – there are “evil” step-parents and an enchanted brother, for instance –  but also that “the city is simultaneously a mythological forest”. Will your film retain those suggestions of a modern day fairy tale?

Yes it does and that is in the very DNA of the story. At heart The Changeover is an emotionally powerful female rite-of-passage keyed into a primal fairy tale tradition. It’s true that those fairy tale elements are more overt in Margaret’s novel.

We wanted the film to feel very contemporary and naturalistic so in our story the fairy tale nature is felt rather than seen. We often thought about Bruno Bettelheim’s groundbreaking study on fairy tale called The Uses of Enchantment. He says, “This is exactly the message that fairy tales get across to the child in manifold form: that a struggle against severe difficulties in life is unavoidable, is an intrinsic part of human existence — but that if one does not shy away, but steadfastly meets unexpected and often unjust hardships, one masters all obstacles and at the end emerges victorious.” That is something we experience through Laura in The Changeover.

In terms of characters, it strikes me that Sorensen Carlisle, at least how he’s written in the book, is something of a contradictory figure – dangerous yet vulnerable, jovial yet dark, aloof yet intense – that must present some challenges when it comes to casting. How difficult was it to find someone who can be all those things in a convincing way?

We had great casting agents in NZ and in the UK. We looked long and hard to cast this film. When we auditioned young UK actor Nick Galitzine we knew we had found our mysterious and compelling Sorensen Carlisle. And Nick and Erana James who plays Laura Chant have a powerful chemistry together. We have always said that this intensity is our special effect!

Reading the book as a teenager it was incredibly important to me that Laura was of mixed racial heritage both in a personal sense, as it was quite unusual to read about someone like me as the heroine of a novel, but also in that it marks her as being different and something of an outsider, which I think adds to her story. I’m really pleased that you’ve cast a part-Māori actress in the role. Was that always the plan?

This was totally important to us too. We love how in the book Laura is part-Maori but Margaret Mahy doesn’t make a big thing about that, it’s simply part of the unique world of the story which in fact helps make it feel universal. It’s true that Laura being part-Maori means that by her very nature she finds herself between two worlds. That’s the journey Laura is on — to open herself to new worlds, new experience.

We looked for many years for our Laura Chant — and we kept coming back to Erana James who we had met early on in our process. Of course, financiers want to cast someone in a central role like this who already has a profile. Erana hadn’t acted in a film before so she was unknown in NZ let alone internationally. But with the support of the NZ Film Commission we made a “tone reel” last year with Erana playing Laura. She was fantastic in it — and the international people involved in the project — like our sales agent and even Tim Spall or Melanie Lynskey — could immediately see that this young woman had something special.

Erana James on set as Laura Chant
Erana James on set as Laura Chant (Image credit: Dean McKenzie)

Could you hope for a better villain than Timothy Spall?

You are so right! But what drew us to Tim in the first place is that he could reveal the humanity in Carmody Braque. It’s this which makes him such a powerful adversary for Laura — because there is something of Braque in Laura herself. A desire to live more fully and expand her horizons.

We are so lucky to have Timothy Spall in The Changeover. He is mesmerising. I think Margaret Mahy would have been thrilled!

It’s clear from his answers that Stuart McKenzie is as much a fan of The Changeover as I am, so I feel much more relaxed about the movie adaptation now.

In addition to the film coming out late next year, McKenzie says there will also be a movie tie-in reprint of the (currently out of print) book. So roll on 2017!

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Podcast – Access to bathrooms

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

This episode discusses issues around access to bathroom and toilet facilities such as –

  • bathrooms for transgender people, people with health conditions and people with restrictions placed on their bathroom usage by their workplaces
  • social and health consequences of not being able to access bathrooms
  • safety issues

The panel for this show includes host Sally Carlton, Brian Poole (Crohn’s & Colitis New Zealand), Olivia Clark (University of Canterbury Law graduate), Anne Nicholson (Qtopia) and Lisel O’Dwyer (Flinders University in Adelaide).

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Dr Ian Chapman – The Dunedin Sound and a passion for music

The Dunedin Sound: Some Disenchanted Evening was launched in Dunedin in November with live music by key players Graeme Downes (The Verlaines), Robert Scott (The Bats) and Martin Phillipps (The Chills).

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Author Dr Ian Chapman at the book launch / gig for The Dunedin Sound, 17 November 2016 at The University of Otago (Photo: John Collie)

To coincide with our review of the book, I interviewed the author Dr. Ian Chapman:

Ian, what inspired you to create this book when there are a few books celebrating Dunedin music already?

I didn’t feel there was a book that celebrated the Dunedin Sound adequately. Certainly, Matthew Bannister’s Positively George Street told the story from his personal Sneaky Feelings’ perspective, but you wouldn’t term it a celebration. And yes there are chapters in other books about the Dunedin Sound/Flying Nun scenes amid wider critiques of New Zealand popular music. There are also websites and many magazine articles over the years that are available online.

But in my view the Dunedin Sound deserved its own standalone book. And I also wanted to be able to point out that the Dunedin Sound and Flying Nun are not interchangeable terms though they are often used in this way. There were Dunedin Sound acts never signed to Flying Nun, and also a lot of Flying Nun acts that were not from Dunedin. I wanted to put Dunedin back at the forefront of the Dunedin Sound, which is why the book features only Dunedin acts.

What do you feel this book is adding to the archive of Dunedin music history?

As witnessed by the recent formation of the Flying Nun Foundation – with preservation a part of its goal, as I understand it – I think many people are starting to realise that the heyday of this scene was now more than three decades ago and time is precious. Peter Gutteridge has recently passed away, and the main protagonists will not be around forever – that’s the cold reality.

With the book being so wonderfully pictorial, I very much had the sense as I was collecting photographs and ephemera from here there and everywhere that this historical flotsam and jetsam is equally not going to last forever. Preserving it in a book like this – I’ve felt as much a historian, archaeologist and curator as an author. Simply, like the excellent job the the Hocken Library (in Dunedin) does, I hope this book with become part of the archive of Dunedin’s music history and ensure such ‘stuff’ is not lost forever.

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Straitjacket Fits Hail album poster, Designer: John Collie

Tell us about some interesting things you discovered in the process of creating the book? Hidden gems unearthed?

I knew it before I started on the project, but through talking to so many musicians, fans, and others involved in the scene in some way or another, it brought home to me once again how contentious the term ‘Dunedin Sound’ is. Even within the camp. That was interesting.

I was also reminded, when talking to others from the era who weren’t involved in ‘the scene’ – mostly musicians of other ilks – of the resentment that still exists regarding the media attention and resultant opportunities that the primary proponents received. It is still seen as something of a ‘club’ by many, and not always in a good way.

In terms of hidden gems unearthed, there are so many images that have never been seen before, and finding these – from old suitcases, basements, tops of wardrobes – stuff that hasn’t been seen the light of day for 30 plus years – was the biggest thrill. Forced to name a couple, I’ll mention the wonderful early photos of The Enemy taken by Ian Bilson and Josie Haines. Discovering these really got my heart racing.

Another discovery was just how close the music and the artwork/design aspects of the Dunedin Sound was. Again, I’d expected it, but not to the extent I found. With so much of the artwork and design done by the musos themselves, or by close friends and family, there’s a synergy between the two that you could never have got from faceless, uninvolved designers trying to portray the music while working in an office behind chrome and glass at some mega record company located in another city.

What have you enjoyed most about putting this book together and what were the challenges?

I enjoyed the feeling of preserving history, and meeting so many awesome people. Key collaborators on the book’s content included Graeme Downes, Alan Haig, Robert Scott, Stephen Kilroy, Roy Colbert, Sarah Williamson (research assistant). But really, everyone was wonderfully supportive of the project.

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Musician Graeme Downes performing at The Dunedin Sound book launch, 17 November 2016 at The University of Otago (Photo: John Collie)

The biggest challenge was finding the origins of hundreds of photos. Many great pics were supplied to me by people who had them in their possession but had no idea who took them in the first place or how they came by them. More often than not, once I’d tracked them down, the musicians in the photos didn’t know who took them either, being so long ago. So, being a cold-case detective was extremely challenging. I still have dozens of fantastic pics in my ‘photographer unknown’ folder on my laptop that didn’t make it into the book for that reason.

From The Star, Friday January 29, 1982

You also wrote Glory Days: from gumboots to platforms (2009) and are a musician yourself. Can you talk about your alter ego, Dr Glam?

Sure. He’s a glittering 1970s-esque glam rocker based Coverupon Bowie’s Ziggy Stardust persona. He was my confidence-resurrecting imaginary escapist fantasy figure during my very troubled teens (during the 1970s) but was laid to rest when I left my teens behind. When I started teaching at the university post 2000 I wanted to show my students an example of a performance persona in order to help them learn to combat nerves and stage-fright etc; ways to suppress self-doubt and become 10ft tall and bullet-proof on stage. So rather than just talking about it, I brought Dr Glam out of the crypt and began performing.

I had an absolute blast, and it got the message across as my students saw their quietly spoken genial lecturer become a posing, pouting, glittery monster in 8 inch platforms, makeup and spandex, ha ha. (Did I mention the fun aspect???) But, by its very nature, glam rock(ers) shouldn’t go on for too long, and so I killed him off in 2014 at a dramatic Death-of-Dr-Glam gig. Nite nite and thanks. But I pulled him out of the grave one more time for this year’s David Bowie tribute show at Sammy’s. To all intents and purposes, though, Dr Glam is dead. I have since reinvented myself in the guise of his anagrammatic cousin, Mr Glad, and with my band, The Skeleton Family, we do twisted cabaret type gigs now and then.

Thanks Ian… Can you recommend some music-related books and DVDs that you really enjoy?

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What’s next?

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Ian Chapman is a musician, author and Senior Lecturer in the Department of Music, Theatre and Performing Arts at the The University of Otago. A musicologist, he is working on his seventh book at the moment titled Experiencing Alice Cooper: A Listener’s Companion (Rowman & Littlefield 2017), which pays album-by-album tribute to another of his rock-theatre heroes.

Several others have been working on related books including one by Graeme Downes. Alan Holt is writing a book about the history of Flying Nun Records; Graeme Jefferies memoir Time Flowing Backwards is due out April 2017 and Needles & Plastic: A Flying Nun Discography 1981-1988 (2016) by Matthew Goody and Sean Elliot is out now.

Podcast – COP and Climate change

Speak Up Kōrerotia logoChristchurch City Libraries blog hosts a series of regular podcasts from New Zealand’s only specialist human rights radio show Speak up – Kōrerotia. This show is created by Sally Carlton.

This episode discusses issues around the UN climate change conference, the “Conference of Parties” or COP 22 which is underway in Marrakech and questions whether it’s an effective way of combatting climate change. Also discussed are –

  • scientific and political understandings of the realities of climate change
  • carbon budget
  • History of COP especially COP-3 (Kyoto), COP-15 (Copenhagen) and COP-21 (Paris)
  • The Paris Agreement – What? Why? How has it been received?; the Agreement as enabler for grassroots environmental advocacy
  • New Zealand’s climate record

The panel for this show includes host Sally Carlton, Hamish Laing, Jeff Willis and Pubudu Senanayake.

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