Mars Hotel 1975 & Robert Hunter R.I.P.


This is a photo by New Zealander photographer Peter Peryer, who died last year. It was one of his first, and is called Hunua, from the Mars Hotel collection. If you could enlarge the photo a bit you will see that the graffiti on the old building is Mars Hotel. Peryer took the photograph on a very cheap camera called a Diana, before he became more famous.


Whereas this is the cover of the 1974 LP by the Grateful Dead, known as Mars Hotel (or Ugly Rumours from the Mars Hotel). The cover art was by Stanley Mouse, one of the legendary poster artists based in San Francisco, that added the visual dimension to the psychedelic sixties, and especially to the San Francisco bands. The Grateful Dead’s key lyricist, Robert Hunter, died this week aged 78, 24 years after his writing partner, Jerry Garcia.

So are the two images linked? The first is of a derelict building in a rural area of the North Island in New Zealand, that happens to have the words Mars Hotel painted on. There were certainly hip music fans in New Zealand in the 1970s, even if the Grateful Dead’s long strange tripping never included a tour in the southern hemisphere.

Anyway, that is enough of a connection for me to write a little tribute to lyricist, Robert Hunter, as a kind of distant Deadhead. The Grateful Dead had a lot of artistic connections, obviously the artwork, and the link to Ken Kesey and Neal Cassady, and so to the writing of Jack Kerouac and the Beats. But Robert Hunter was his own smaller scale genius, and I wanted to emphasise his link to English writing, and to the folk tradition, an interest he shared with Jerry Garcia before the psychedelic experience took them on the Grateful Dead’s legendary bus.

My first listening experience of the Dead came when I happened to find a cassette, in the 1980s, with both the 1970 classics, Working Man’s Dead on one side, and American Beauty on the other. I wasn’t really expecting the country rock genre though, all I had read about was the so-called acid rock stuff. But I nonetheless loved this cassette. In 1987 the Dead had released their most successful studio LP, In the Dark, but I had not heard that, and never much liked it later on. But the country rock stuff was great, and it was that which led me into the more familiar bands in the genre, the Byrds and Flying Burritos Brothers.

But in 1987 I had quit an admin job in a finance corporation, after the sharemarket crash of that year, when I had lost most of my savings. I took a trip down in the South Island, and stayed in Blenheim, where I did some seasonal work in an orchard, then in a vineyard on some stoney ground next to the Wairau river. Every day I would drive to the vineyard, greet the owner’s Irish Setter dog, put on my cowboy hat, take my hammer, and attend to the vines. I was relatively hopeless at it, but the older guys tolerated me. After a hot day we had our hammer throwing competition and went back home. I had a cabin at a camping ground and, after some dinner, lay back with my Sony Walkman and put on the Grateful Dead, first Working Man’s Dead, then American Beauty, when I would fall asleep during ‘Attics of my Life’. But all of those songs were great, I don’t need to praise each of them, they just seemed to fit the idea of a grafting seasonal worker.

One time I went to a pub in Blenheim, which was a bit of an eye opener. They had a rough and ready band, and at the official closing time the outsiders were expected to leave, while the locals carried on drinking. I met an American guy there, who was also at the camping ground, who said he had seen the Dead at a concert with Bob Dylan, and the whole thing had been 5 hours long. Far out man, it all seemed to fit into place.

When I went back to Wellington it was not so easy to find more Grateful Dead LPs. The only ones were re-releases of the mid 1970s period when they had their own record label, but that was after their classic Warner Brothers period. But I purchased the Steal ya Face live LP, which had the elegaic song ‘Stella Blue’, one of Garcia’s best arrangements. And I bought Mars Hotel, Wake of the Flood, and Blues for Allah on cassette initially. But you had to love the skeletons going round on the album labels.

So just a bit more on the Mars Hotel LP. I actually liked the two songs by Phil Lesh, the bass player, ‘Unbroken Chain’ and ‘Pride of Cucamonga’. These were the last of his songs with another lyricist, and after that it was mostly Hunter/Garcia songs, with others by Bob Weir and John Barlow. But as I write this I want to mention Hunter’s great lyrics for the opener to side two, ‘Scarlet Begonias’. Who else would write a song title with begonias in it, Hunter’s usual flower icon being the rose. But he starts off, ‘as I was walking round Grosvenor Square’. This was obviously one of his songs that he wrote while living in London, in his most fertile period. I always liked the line: “As I picked up my matches and was closing the door/ I had one of those flashes, I’d been there before.”

The usual thing here is to say that we will never see his like again, and in combination with the genius Jerry Garcia, and his unique playing, especially on the pedal steel guitar in country-rock mode. But Robert Hunter was the lyricist, that was what he did, so in a way what he wrote defines the music, cosmic American soul or something. Not necessarily the most original, but certainly the most empathetic. Just listen to ‘Box of Rain’, written with Phil Lesh, the first song on American Beauty, and go there with him.

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Revisiting New Zealand in 1976 (the Listener) #4

After a little break, filled with television watching of world tour cycling and the live feed of the Supreme Court in London, it’s back once again to 1976. This time we are with the listener in the first week of October of 1976, and some heavy duty international politics. There is an editorial about the legacy of Mao Tse-Tung in communist China, and an interesting article about Spain after the death of the fascist dictator Franco. The author, John Sligo, suggests that it is the communist party that will have to play a key role in Spain, being the least tied to the corruption within the system. The guest editorial, by Bill Willmott, is more idealistic, and unrealistic, given that Mao now has a different name.

But the Communist Party still controls the State apparatus in China, and presides over a hybrid form of capitalism that has the Pacific region under its sway. This is not just due to foreign aid, but also the infiltration of the Australasian society with political operatives. We recently had a candidate for the Australian Liberal Party, which is very right wing now, being exposed as a member of United Front organisations. After denying it publicly there has been something of a row over this recently elected MP from Melbourne. We actually have a similar situation in New Zealand’s conservative party, known as National, having a list MP, Jian Yang, who is known to have doctored his CV to make him look like a former university lecturer in China. In fact, he was involved in their spy school, but he won’t front for any kind of interview with the tame New Zealand media. Nor was it widely reported that his National Party leader, the hapless Simon Bridges, was recently in China to maintain links with the regime. This after it emerged that Chinese nationals were donating hundreds of thousands of dollars to his party.

Back in 1976 the National Party was led by an authoritarian, R.D. Muldoon, who used his security services to get dirt on his opponents, and alleged communist fellow travellers in the trade union movement. The listener’s cover story is on the leader of the trade union movement, called the Federation of Labour, Tom Skinner. Skinner had just received a knighthood and was presiding over the most militant period of strike action since the 1950s. This was in a period when compulsory unionism – yes it was compulsory to actually join a trade union – meant there was a strong base of industrial power. But it was also a time of economic stress, and argubaly long term decline. Skinner was the last of the old guard, and being knighted suggested he was part of the establishment. The article by Geoff Chappell makes it clear that he did not read any of the leftist literature.

Now on to the cultural front, but not leaving behind politics. The Labour Party was born on the West Coast of the South Island, in the mines, but an earlier Prime Minister known as King Dick also eminated from that region. Mary Seddon, Richard’s grandaughter, reviews a book called Miners and Militants, a collection of essays based on MA theses supervised at Canterbury University. She concludes: “right from the beginning the West Coast has been inhabited by far too many mean little men with grabby hands, ready to leave the gaunt wreck of empty tailings or burnt-out forest in their wake…” A visual equivalent of this point was made in the 1960s by photographer Les Cleveland, in The Silent Land, a long photo-essay that captures the colonial mentality. Other reviews suggest that literary publishing in the South Island, especially in Dunedin, was still strong. Meanwhile, Ray Columbus writes about the classic band Split Enz, which has just gone to London to re-record their first LP, known as Mental Notes, with Phil Manzanera of Roxy Music. It will now appear on the Chrysalis label, if not in the local charts yet.

Nothing new in local television this week, though that will be about to change. The listener in fact runs an article on the programme Upstairs, Downstairs, with photos of Gordon Jackson and other serious looking cast members, with some some social history. The series runs on Tuesdays at 7.30pm, opposite The Sweeney on TV1, with that listing showing a serious looking John Thaw with gun in hand. On Wednesday night there is a promotion of The Brothers, this time with a photo of Patrick O’Connell as Edward Hammond, who replaced Glyn Owen in that role. Owen will soon appear in a later episode of Survivors, which this week has the ‘Corn Dolly’ episode playing, being the first script by Jack Ronder in the series. This episode has a short quote from a new character, Charles Vaughan, played by Denis Lill, about making sure there is a next generation of survivors.

I was not going to write about Jack Ronder’s scripts for Survivors, mainly to focus on what Terry Nation had intended to do. Ronder and the show’s producer, Terrence Dudley, seem to have got control of the series at some point, and took it in the wrong direction. Nonetheless, Ronder did have some interesting ideas, and the Charles Vaughan character proved to be essential to the ongoing survival of the porgamme, being the key character by the third series. In this first appearance he has something of a cult leader type of role, or just that of a harem figurehead. Vaughan was an architect who also ran a hobby farm with his wife, and now wants to lead a self-supporting community. But while he is off surveying the wider district with a female companion, most of his community have been poisoned by fish, apparently. After discovering the trio of Abby, Jenny and Greg, he returns to find his people dying, and then it gets a bit odd. It emerges that at least four of the women were pregnant, and Abby is being lined up as the next candidate. She is having none of it, and once Jenny decides to leave the trio is off again, with a classic long camera shot at the end of the episode. This leaves Charles with just two pregnant companions.

It was the idea of a set of two trios, both with one man and two women, that could have been developed here. And the problem for the series, conceptually, is that Abby and Jenny realise that if they are going to have a self-supporting rural commune they need someone like Charles who actually knows how to grow food. It could have worked to have contrasting trios trying to survive, even if they were not directly linked in a settlement. By the time this happens, at the start of the second series, Abby was written out of the programme, and Charles is in a monogamous relationship with a woman Pet, played by Lorna Lewis. Jenny was by this stage pregnant with Greg’s baby, as Lucy Fleming was in real life, so the interesting idea of the trio with two women was gone.




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Revisiting New Zealand in 1976 (the Listener) #3

Well it’s the end of September in 1976, and the cover of the listener has a publicity shot for a new New Zealand TV drama, Hunter’s Gold. This is a young adult costume drama, set in the goldfields of Otago, in the South Island, in the nineteenth century. It was written by an ex-pat, Roger Simpson, but still marks the revitalisation of the TV and film industry in this period, and the interest in historical dramas set in colonial times.

The other cover story involves the plight of a native bird, a flightless parrot called the Kakapo. Written by Anna Kenna, the story of the likely extinction of the Kakapo focusses on the lack of knowledge of the bird up to that point, given that there had been no confirmed identification of any females for many years. There has now been a breeding programme for some time, but there are still less than 200 Kakapo alive. But, other female activists are highlighted in the listener this week, after a mention last week: Elsie Locke writes about education, and Sue Kedgley is interviewed in the Persons column.

In this week’s Rock column Gordon Campbell reviews a Motown LP called The Bitch is Back, by Yvonne Fair. Not the one by Elton John. Elton and Kiki Dee are still top of the singles chart, holding out against two Abba songs, and Henry Gross. Neil Diamond is still top of the Albums chart (with Beautiful Noise), and has Hot August Night enter at number 15. The album storming into the top 10 is Frampton Comes Alive, at number 9, just below the Seekers, and just above the Dark Side of the Moon. The other big mover is Joe Walsh with You Can’t Argue with a Sick Mind at number 19, just below Olivia Newton-John.

On to the Wednesday night TV listings, and the write ups of the prime time British shows. On TV 1 there is a photo of Erin Geraghty and Fiona Fullerton in their nurses uniforms for Angels. And on TV2 there is a somewhat poorly reproduced publicity shot of Gabrielle Drake playing croquet, in a very long dress, with the caption “Gabrielle with the nice brown hair.” It’s hard to tell if she has brown hair, due to the black and white shot, but we are assured she does have brown hair, and was only wearing a blonde wig in The Brothers.

At 8.30 pm on TV1 we see the third episode of Survivors, called ‘Gone Away’, written by Terry Nation. Gone Away begins with a long scene in which Tom Price, played by Talfryn Thomas, comes across a deserted farm, and decides to take a shot gun, before catching a glimpse of a boy in a kitchen mirror. Tom Price is a key character for Terry Nation, a kind of rover with a habit of talking his way out of situations, what we would call a bit of a bullshit artist. In Nation’s book Tom Price is the last one left, the ultimate survivor, but in the TV series he initially appears to be not more than a tramp with a habit of lying. It seems that Talfryn may not have been a very pleasant fellow, but the man could act.

The Tom Price character tends to pop up at odd times in the first few episodes as a minor one, but becomes more endearing with repeated viewings on DVD, even adding a hint of humour at times. In the first episode he is asleep in a makeshift shelter on a hill when Jenny comes across him, and they have a brief conversation. By the second episode Jenny is desperate for some company when she encounters Price again, coming out of a mens store wearing a new suit, and about to get in a Rolls Royce. Tom’s brief joy ride in the Roller is the only light bit of the second episode, but he continues to keep his distance from Jenny, and prefers to roam around completely aimlessly, avoiding other people.

The Tom Price character stands out because he is the only one that appears to get dirty; even though the other characters are also sleeping rough, they always appear to be clean. This indicated some of the problems with continuity that Survivors had, and also that only some aspects of the story were realistic. Of course it’s all about class. The criticism of Survivors was that it lacked diversity, all of the characters were middle class, except Tom Price. I would have thought that was the point in a way: all these middle class people that have secure lives or useful functions in the old society find themselves ill-equipped to survive the post-plague world. This was even more the case with the female characters, all are very safe in a way, and none are grubby little liars like Tom Price.

One of the only things that Price says in Gone Away that was true, is that he came across the young boy in a dispute over a chicken. This was just before he found Abby Grant’s new settlement in an abandoned church, with her knickers on a makeshift washing line, and he decided to help himself to some food and then have a kip. In the meantime, Abby, Jenny and Greg Preston have gone away to get some more fuel for the Volvo, and to scavenge for food at an out of the way store. There they encounter rats, a dead body with a ‘looter’ sign hanging from it, and a trio of men with guns. They are led by Dave Long (played by Brian Peck who is also in The Brothers), who are part of Arthur Wormley’s militia. After a stand-off, and the trio holding up our heroes at gun-point, Jenny grabs one of the guns from the character in a suit and tie (played by Robert Gillespie). Abby takes the keys from their jeep, Preston shoots out a tyre, and the heroes are off in the Volvo. After some soul searching on a river footbridge, Abby realises that there will be many men with guns, and no co-operative effort to re-build society as she had assumed.

When the Volvo gets back to the church the trio come across Tom Price, they build a fire, then decide that the young boy Price tells them about might be Abby’s son. Off the trio go into the woods as darkness falls. This is when we get the quote that provides the blurb for the TV listing for Gone Away. Greg Preston feels the need to tell Abby it might not be her son Peter who is holed up with the man in the woods. And by the time they get there both the man and the boy have died of a secondary illness. And so the trio of survivors press on, looking for the lost schoolboy, but only after Dave Long’s trio return to bust up their settlement. Tom Price then decides to go with them, not to be seen again for the following three episodes, and the next two being penned by Jack Ronder, with no guns.


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Revisiting New Zealand in 1976 (the Listener) #2

This week the listener cover story (18 September) features a preview of a radio programme titled ‘Ladies, a plate please’. For those that don’t know what this means, it refers to the cultural practice whereby, when inviting a couple to a social event, the female was to bring a plate, preferably with something appetising on it (usually home baking). The cover features prominent cook Alison Holst, opera singer Kiri te Kanawa, and a young Marilyn Waring, who had just been elected to Parliament aged about 23.

The article is titled ‘Feminism: the wave rolls on’, and features veteran campaigner Elsie Locke, Rosslyn Noonan, the NZ organiser for International Women’s Year 1975, and Susan Kedgley, described as ‘a spokesperson for women’s lib in New Zealand in the early 70s’. Kedgley is ‘back here on leave from New York’, without mentioning her job at the U.N., where she apparently dated Kofi Annan. Sue Kedgley would later become a Green Party MP, along with Keith Locke (son of Elsie), who was targeted by security services.

Anyway back to the listener. There is a particularly interesting article on abstract art by Wystan Curnow. This includes photographs of paintings by Gordon Walters and Gretchen Albrecht which are probably worth a small fortune now. Ray Columbus writes the rock column this week, firstly introducing the readers to a German band named Kraan, which don’t fit into the Krautrock genre. Meanwhile, Joe Walsh has released You Can’t Argue with a Sick Mind, ably assisted by the other Eagles. The Eagles Greatest Hits moves up one place on the charts, Dark Side of the Moon moves down two, Hideaway by America comes in at 14, and Santana’s Amigos makes a rapid rise to reach number 17.

Moving to the Wednesday evening TV listings. Both The Brothers and Survivors are promoted with photos of the stars and a write up on the page. Brother David Hammond is played by Robin Chadwick, and he is seen kneeling in front of his Kendo equipment. Apparently Chadwick is a New Zealander, born in Whakatane, and he did all the usual Kiwi lurks, ‘like working on the wharves and in the woolsheds at night’. Meanwhile, on the TV1 page we see a photo of Carolyn Seymour, shivering in the winter cold, with a caption ‘Survivor?’. Her character, Abby Grant, is quoted as saying that “we’re less practical than Iron Age men,” without the ability to make and maintain all the complex systems of modern living. Apparently the real question in Survivors, according to the write up, is whether our ‘shaky pyramid’ of unstable globalism is re-created, or a new civilisation is formed with ‘the tiller of the soil recognised for his skills and where nuclear fission is only used peacefully’.

Of course Survivors was known for philosophical discussions of the big picture, the future of mankind, that kind of thing. But mostly by male characters with something of a messianic complex. The Abby Grant quote comes from a conversation with the character Arthur Wormley, played by George Baker, who leads what turns out to be an all male militia in a country house. Abby is attracted to the veneer of normality, and the sight of the power being on and a cooked dinner. But after repeating her spiel about civilisation she realises that Wormley, a former trade union hard man, actually leads a vigilante type of outfit. In his own meandering speech, and his tie and tweed jacket, Wormley declares that he is the one with the organisation skills to re-create a government, and also to allocate the remaining food supplies. He also executes his main rival, an ex military man who may have owned the house they are occupying, over Mrs Grant’s objections.

This second episode, ‘Genesis’, introduces the third character in the trio of survivors, Greg Preston. Preston makes a rather grand entrance, flying a helicopter back from the Netherlands, where he has been working as an engineer. Preston is able to land right beside his small cottage in the countryside and finds his wife dead, something that does not seem to bother him that much. He then drives off in his nifty MG car, looking to exercise his new found freedom. It is not too long, though, before he runs into a woman, Anne, flagging him down on the road. She is living in a shed in an abandoned quarry, with a man who has just had an accident and is pinned under a tractor. Preston proves his practicality by getting Vic out from underneath the tractor, but then begins to realise that Anne expects him to stay with them, and their impressive stock of collected goodies.

The quarry is both a metaphor for the prevailing econmic system, and a good place to hide out, at risk only of complete boredom. Anne herself turns out to be an aristocrat that is rather mercurial, at times almost pathetic, and at others rather strident in her ambition for commandeering as much stuff as she can. The parallel with Wormley is interesting, as the story cuts between the two scenes at the quarry and the country house that Wormley’s men occupy. Anne realises that any kind of accident could prove fatal, so she wants to live it up a bit; and, ironically perhaps, she also knows that money itself is no longer the main currency, it will be the control of the goods. There’s “an abundance of everything” according to Anne, as long as she has a man to look after her like Preston.

There is another quote from Anne that was chosen for the TV listing for the ‘Genesis’ episode. As one of the new rich, and holder of ‘things’, Anne expects that other people can do the work for them in return for a warm coat, and things like that. Preston is sceptical, and after trying to attend to Vic’s injuries, heads off in the morning not expecting to return. But, after raiding a pharmacy in town, and picking Lucy Fleming’s character (Jenny), he returns down the road to the quarry. There he meets Anne walking up in her fur coat and with a bag. She announces that Vic has died, and the trio head off to find another shelter. But Jenny and Preston end up with Abby, and leave Anne behind. So the actual story will be the trio, but it would have been better with just Abby and Jenny. Certainly, in Terry Nation’s book Anne, whom he calls Sarah, tries (unsuccessfully) to seduce Greg Preston; but in the TV series, Vic survives to seek revenge on Anne.

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Revisiting New Zealand in 1976 (the Listener) #1

Margaret Thatcher did visit New Zealand in September 1976. She even made the cover of the listener magazine. The listener was the magazine provided by the State which gave the listings for the two public TV channels, and the publicly-owned radio channels. But it was also the home of current affairs journalism in New Zealand at the time, as well as many cultural columns including Rock music, and only cost 20 cents. It was also a big magazine in terms of size, pages bigger than A4, and there were over 100 pages to read.

I was looking for a photography article by Geoff Chapple, but couldn’t find it in the archived copy (there was a photocopy provided). Instead I found a fascinating read, not just because of Margaret Thatcher on the cover, along with pictures of the five lead actors in the British TV series Angels which was due to start its run on Wednesday nights. If you might think the magazine leaned to the ‘right’, one might also notice a column named Persons, in which Geoff Chapple interviewed Willie Mae Reid, Vice Presidential candidate of the American Socialist Workers Party, quoted as saying, “capitalism produces its own grave-diggers in greater and greater numbers.” Meanwhile, Margaret Thatcher’s friend, who worked for the NZ Prime Minister at the time, is quoted as saying that Mrs T was offering ‘capitalism with a conscience’. That obviously didn’t go so well.

There are many things of interest here, including the publication of the National Record Sales chart. Number 63 indicates that ‘Shannon’, by Henry Gross, was still at the top of the chart, closely followed by the Swedish group (‘Fernando’), and Elton John with Kiki Dee. The Swedish group also featured in the Albums chart, with two Rod Stewart offerings, as well as the Royal Scam, Wings at the Speed of Sound, and the Dark Side of the Moon at number 10. Gordon Campbell reviews the book by Greil Marcus, Mystery Train, for his rock column, and expresses disappointment in John McLaughlin’s new LP (Shakti).

On to Wednesday night television listings. TV1 has Angels debuting at 7pm, followed by Barney Miller at 8, and something called Survivors at 8.30pm, before current affairs at 9.30pm. Meanwhile, TV2 has Bless this House at 7.30pm, followed by The Brothers at 8, Kojak at 9, and the News at Ten. Wow, news on both channels, never happens now, but what to pick for a drama. The TV1 page has a picture of the ‘survivors’ played by Ian McCulloch (not actually in the first episode), Lucy Fleming, and Carolyn Seymour; while the TV2 page shows a very sexy photo of Brothers actress Hillary Tindall in a pool, rather than Gabrielle Drake. Despite this I know that I did watch Survivors at age 8 in 1976.

The reason I remember Survivors, despite being only 8 years old, and despite all the TV I did watch in the late 1970s, was because of the scary title sequence and accompanying theme music. This was where the Asian scientist drops a test tube, infects himself with a variant of the plague, travels to the eastern bloc country, collapses on the tarmac of the airport, and proceeds to infect the entire world due to international travel by plane. The blurb for the series tell us that 98% of the world population dies as a result. For the first episode, ‘The Fourth Horseman’, there follows a strange quote from the programme.

As we know, Survivors was created by Welshman Terry Nation, better known for creating the Daleks in Doctor Who, and for Blakes Seven, which he turned to after the first series of Survivors. The series was filmed mostly in rural England during the winter of 1974, before the actual ‘winter of discontent’, and of course is unremittingly bleak. It was also very innovative in a number of ways, without the budget and technology that the post-apocalyptic genre relies on now. But is it really the first post-apocalyptic drama series, and the only series to have two female leads, or is it of interest for other reasons?

On the face of it the story is about Abby Grant, a middle class woman with one child, living in the English countryside in relative luxury. After she survives the plague outbreak she goes off in search of her son, who was at a boarding school in the country. The first episode sets this scenario up, and includes a parallel story where a London resident, Jenny Richards, comes through the outbreak unscathed, and heads out to the countryside in search of company. Abby and Jenny don’t meet until the end of the second episode, so the first instalment acts as something of a pilot, and is the most interesting.

So Abby Grant drives off to the school and only finds corpses, until noticing a light in a technology room. There she finds a teacher, Dr Bronson, who is mostly deaf and at a loss to know what he can do. But after apprising Mrs Grant of the situation regarding her son Peter, who has left the school with a camping group, he eventually launches into his last lecture. This is when we reach the dialogue quoted in the programme listing: “we are of the generation that landed a man on the Moon, but the best we can do is talk of making tools from stone.” Bronson’s point is that once the existing infrastructure is gone, it can’t be replaced. In fact, with death on such a scale there is not the skill to actually maintain the existing technology. The character extrapolates from this that the underlying problem has been the over-specialisation, and an advanced division of labour means that no one has the skill to actually master all the processes that produce commodities.

It has to be said that this is interesting, but not the first thing that survivors of the plague would grasp. Nation seems to have used the Bronson character, and Peter Copley’s brilliant cameo, to hightlight the deference to formal education in British society. So Dr Bronson’s point is that there has to be a return to a traditional, small scale society, where all the ‘old crafts’ are re-learned and passed down by the elders. He might have also said that most of what was taught in boarding schools was of no practical use to survive with, even if it wasn’t in the formal curriculum. In particular, he is most proud of the radio ham equipment made and used by the boys to contact people around the world. All that has now gone, but those ideas of globalization turned not to be of much use in the end.

The other episodes in the first series of Survivors written by Nation have equally interesting dialogues between characters, and reflect on the underlying economic structure of British society. But he did not write the middle episodes, which took the series in the wrong direction, especially as Abby Grant’s son is never really part of the story. Carolyn Seymour’s character, at least initially, took Bronson’s lecture rather literally, and sought to create a commune based on subsistence farming and self sufficiency. Those ideas were fashionable at the time, but did not make for much drama, so various conflicts over resources had to be written into the stories, and reflect the domination of the male characters. It was too much to expect male writers to provide good dialogue for female lead characters: Carolyn Seymour was sacked by the producer, but Lucy Fleming’s Jenny character survived, and by the third series she is determined to turn the power back on. I may look at other first series episodes for more 1970s insights.

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Now for something completely different


This may be the last blog post, or a change in direction, but has nothing to do with tax havens. It is time to renew the blog, and pay WordPress for the privilege, as I can’t seem to go back to the free blog site I started with. There are still readers so I feel obliged to keep it alive, even though the situation is not very conducive. In particular, I do have a Gmail address to go with the site but don’t publicise it for obvious reasons (scams). And the fact that the alerts from the blog are put into spam by Gmail; and that there are also alerts from other well known blogs on tax havens and money laundering that I should be getting but don’t receive at all.

But back to the photo. For those that don’t know this is Grace Slick at Woodstock, fifty years ago, in some sort of excelsis. I copied it from a lengthy piece about Woodstock on the London Review of Books website. And if you have not heard of the Jefferson Airplane, and the role of Grace Slick as the co-lead vocalist, you’ve missed something worthy of remembrance. She is heard on the Woodstock recording announcing that they were playing ‘morning maniac music’, having missed their evening slot, and that this was a ‘new dawn’. As good as any place to make a new start with the blog, and simply pursue interesting cultural things, with an ear and eye mostly on the 1970s. Enjoy.


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Updates and stuff

It’s Mayday, and so a good time to write. Not much happens here in New Zealand, unlike offshore. But a few things have happened recently in the tax haven and AML situation, with the regulators actually enforcing the rules. But before referring to that, a comment on the media, and it’s handling of a story derived from the Panama Papers.

Last week both publicly owned broadcasters, TVNZ and RNZ, published a brief apology on their websites to Akezhan Kazhegeldin. Kazhegeldin is a former Prime Minister in Kazakhstan who was mentioned in one of the stories that emerged from the Panama Papers in 2016, that RNZ and some TVNZ staff had access to via Nicky Hager. The particular story has been removed from official websites but can still be found on-line. It implied that Kazhegeldin had used New Zealand trusts, and companies set up in the British Virgin Islands, for the investment of his wealth into London properties. And it showed that constructing stories based on public figures, who happen to have used the offshore industry, was easy at the time, but the story needed an actual AML angle.

The rather terse apologies simply state that Kazhegeldin had provided documentation that proved that these property investments, handled by his daughter, Dianna Battaglia, were all above board. Hence he wasn’t the typical kleptocrat from Kazakhstan, but was being falsely accused of money laundering. Kazhegeldin, or his daughter, were involved with the Cone Marshall firm in Auckland, whose New Zealand Trust Corporation acted as trustee for a Venezuelan Trust, and Zarek Investments Ltd in the British Virgin Islands. The original story simply referred to the doubts that Mossack Fonseca had about politically exposed people from Kazakhstan, given that Battaglia had used exactly the same method of London property investment as her father’s arch rival, the longstanding president of Kazakhstan, Nazarbayev.

So did the New Zealand media have to cave in, given what we already knew about Mr Kazhegeldin? In a lengthy article in the New York Times from 2006, entitled ‘Oil, Cash & Corruption’, Ron Stodghill laid out the links between Kazhegeldin and some American operatives. It seems that Kazhegeldin was similar to the other oligarchs emerging from the post-Soviet state, he even trained with the KGB.  Although he made his fortune in chemical fertilizer exports, Kazhegeldin was investigated over oil trading, even if this was connected to his presidential challenge against Nazarbayev in 1999. Kazakhstan obviously has a lot of oil, but is favoured by Washington, unlike Venezuela. And the fact that Kazhegeldin has remained a vocal critic of Nazarbayev suggests protection.

I had referred to some other links between Kazakhstan and Cone Marshall in the post titled ‘Strange Brew’. And in the post titled ‘Great Danes?’, I also wrote about the activities of two other Auckland-based trust companies, Equinor Trust and Denton Morrell. It seems that Denton Morrell has now received a formal warning from the Department of Internal Affairs, for not complying with the new AML/CFT Act requirements. In particular, the regulators state that it has failed to ensure due diligence concerning its offshore clients transactions, and has not implemented the AML/CFT programme it should have, though it has not actually been accused of facilitating money laundering. This is the third formal warning, apparently, but the previous offender, Equity Trust International, was struck off before it could implement an AML programme. Denton Morrell came under further scrutiny because it was linked to cases first exposed by Daphne Caruana Galizia, and pursued by Nicky Hager in 2018 for RNZ, related to the Azerbaijan government.

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