The Next Gallery

The Next Gallery composed and performed by Peter Cleave

Cutting up your mates

Cutting up your mates composed and performed by Peter Cleave

Good Night Blue

A song for Murray and Bruce Good Night Blue composed and performed by Peter Cleave

Player

puff 112 Run Rupert Run Skiffle?

Run Rupert Run composed and performed by Peter Cleave

Saw You: for Fujisan

Last Gasp Cafe 113 Saw You composed and performed by Peter Cleave. For Mt Fuji

NBA Top Ten Dec 3rd

Twelve Bar Detox Last Gasp Cafe 111

Veronica Bay composed and performed by Peter Cleave

【吉野家で】メガ牛丼に対抗して、テラ豚丼をやってみた【フリーダム】ニコニコ動画コメントつき

Jennifer Lopez

Jennifer Lopez, Hold it, Don,t drop it

NBA Highlights from December 2

Last Gasp Cafe 110

Saw You, composed and performed by Peter Cleave

Whitney Houston in Kuala Lumpur

Last Gasp Cafe 109

Last Gasp Cafe 109 featuring a review of the music of Dean Murray and You're Free composed and performed by Peter Cleave

Last Gasp Cafe 108 Song for the Ming

You're Free composed and performed by Peter Cleave

Good Night Blue

Last Gast Cafe 107 Good Night Blue composed and performed by Peter Cleave

Saw You

Saw You composed and performed by Peter Cleave



公主小妹 Ep1 吴尊 张韶涵 晨亦儒 胡宇崴 利昂霖 飛輪海 飞轮海 Fahrenheit 爱上公主小妹 愛上公主小妹 Romantic Princess Wu Chun Angela

Song for a walker: Idol

中川家剛　ラッパーウルリン滞在記１ リンカーン 中川家 剛 ラップ メーン

http://www.youtube.com/watch?v=0BO25CeJ4Es

Last Gasp Cafe 106

Featuring comments on Michael Scorey's 'Levonia', Dean Murray's success in the USA, Murray Haddow and the song Good Night Blue composed and performed by Peter Cleave.

Contact zebmansell@clear.net.nz for copies of Michael corey's 'Levonia'

The Idol Dies: You're Free

You;re Free composed and performed by Peter Cleave

Good Night Blue

Good Night Blue composed and performed by Peter Cleave

Song for Canton

Long Black Jar composed and performed by Peter Cleave

Wiltshire Autumn

Wiltshire Autumn
Buy Now
seven track CD
I thought I was in New York
Hey Joe (trad)
X Love
Cafe Vertex
Lady so far
Changing Chairs
Sweet Miss Jay
All songs except Hey Joe composed by Peter Cleave. All songs performed by Peter Cleave
Buy Now

Rangahau pae iti kahurangi: research in a small world of light an shade

Rangahau pae iti kahurangi
Research in a small world of light and shade
Second Edition
Peter Cleave
Buy Now
ISBN
978-1-877229-23-7
Campus Press
26 Sycamore Crescent
Palmerston North
Thanks to Micah and the team
at Warehouse Stationery
Palmerston North
Bound by New Life Bookbindings
28 Avenue Rd
Greenmeadows
Napier


Contents

1 Wahi Rangahau; Places of Inquiry

2 And on to the problem...

3 Images

4 The critical people

5 Comfort Zones

6 Found Rules

7 Drama

8 What is being pursued?

9 Back to the image

10 Learning outcomes?

11 Back to the whare

12 Rangahau, ethics and social work education

13 An ethic of empathy

14 Action Research?

15 Fields of light and shade

16 Action Research

17 Research that matters
Buy Now

Papers on Social Work

Papers on Social Work
Buy Now
Peter Cleave
2007
Second Edition
ISBN
978-1-877229-21-3
Papers on Social Work
Second Edition

Campus Press
26 Sycamore Crescent
Palmerston North

Thanks to Micah and the team
at Warehouse Stationery
Palmerston North

Bound by New Life Bookbindings
28 Avenue Rd
Greenmeadows
Napier

Introduction
These papers venture into several areas of social work but there may be some features that set the collection aside.

The first is an emphasis throughout on social work education. This interest is set out in in the first chapter where there is a comparison between local and European traditions. Work by Carola Khulmann and Peter Cleave appears early in the collection and is then taken further in subsequent papers.

One emphasis or theme which keeps coming up is to do with a ethic. This is touched in the comparison of social work in Germany and Aotearoa/New Zealand, looked at in the article, An ethic of empathy, and touched on again in the article on iwi social services.

Another theme is to do with indigenous ways of research. The paper on rangahau is the most discursive in the collection and the intention here is to take the arguments as far as they might go without necessarily coming to fixed conclusions.

Yet another pertains to the dynamics of small group work in social work learning and teaching. This work is perhaps the most widely published while some of the other papers are offered to a broader readership for the first time.

The consideration of broadcasting and social work is, I think, different from the other papers in many respects and, along with the paper on iwi social services, a little tentative in its conclusions These are both new areas of work for me and it shows. In later editions the intention is to refine and develop the arguments involved,


Peter Cleave

Contents

1.Ethics and Social Work Education

2.An ethic of empathy

3.Broadcast identity and social work

4.Social Work and Iwi Social Services: an historical approach

5.Wahi rangahau: Places of inquiry

6.Is Talkback Radio Social Work?

7.Fields of light, fields of pain: small group work in social work education in Aotearoa/ New Zealand
Buy Now

Papers of Contest

Papers of Contest
Peter Cleave
ISBN
978-1-877229-21-3
Campus Press
26 Sycamore Crescent
Palmerston North

Introduction

The theme of this collection of papers is contest. There is a challenge in each paper.

In the first paper conventional research is challenged with an idea of indigenous modes of inquiry.

The next paper looks at confrontational theatre and film in the 1990s.

The discussion of Francis Pound and Wystan Curnow considers images, symbols and the art of a place, a country, I suppose.

The review of Martin Blythe's book involves several of the themes so far considered as well as others and tries to describe an exciting analysis.

The consideration of the native, the outlaw and the frontier widens the perspective of the collection.

The rest of the papers in the collection take the idea of contest into different areas.

The discussion of Suzie Cato takes the discussion into mainstream media in Aotearoa/New Zealand.

By contrast the next article looks at work with perhaps more limited but nonetheless highly critical audiences and the construction of or the playing with a notion of the Pakeha-Maori.

The final paper is a consideration of the grotesque. This raises a number of questions that are left hanging and that, I suppose, is what happens in a collection with the theme of contest,

Peter Cleave

Contents

1.Wahi rangahau: places of inquiry

2.Native voice: 1981 and all that

3.Francis Pound: History, art and the semi colon

4.A review of Martin Blythe

5.Native, outlaw and frontier myth

6.Suzie Cato says 'Kia ora...'

7.Negotiating and constructing the Pakeha-Maori in 'The Piano', 'Monday's Warriors' and elsewhere

8.The projection of the grotesque; Maori and Pakeha-Maori in 'The Piano' and the construction of the ignoble savage in Aotearoa
Buy Now

Papers

Papers to Conference
Peter Cleave,
Campus Press
2007
35.00 NZ
Buy Now

Song for the Centre: Saw You

Saw You, composed and performed by Peter Cleave


公主小妹 Ep1 吴尊 张韶涵 晨亦儒 胡宇崴 利昂霖 飛輪海 飞轮海 Fahrenheit 爱上公主小妹 愛上公主小妹 Romantic Princess Wu Chun Angela

Good Night Blue

Good Night Blue composed and performed by Peter Cleave

Into the fire again

Good Night Blue composed and performed by Peter Cleave

California Burn

Saw You, composed and peformed by Peter Cleave

Last Gasp Cafe 103

Song for a Contender. Idol composed and performed by Peter Cleave

Last Gasp Cafe 102

Song for a Fire. You're Free, composed and performed by Peter Cleave

Last Gasp Cafe 101

Saw You composed and performed by Peter Cleave

Last Gasp Cafe 100

Idol on a single string. Idol composed and performed by Peter Cleave

Last Gsasp Cafe 99

Song for a Ghost. Long Black Jar composed and performed by Peter Cleave

Last Gasp Cafe 98

Red Bus on a Blue Planet. Red Bus composed and performed by Peter Cleave.

Last Gasp Cafe 97

Last Gasp Cafe 97
Good Night Blue composed and performed by Peter Cleave

Wheeler's Corner

43 18th October 2007

Now before I get started, many have asked me if Wheeler’s Corner will continue now that my circumstances have changed. The answer is yes but any issues discussed in part two of council will not be discussed until they are public knowledge. As always I shall be polite and charming as a tame tiger…"who said what and when" is the key to open communication and I hope I will continue to practice that art…for art is what it is.

This Week: 1. Election has ended 2. Who came and went? 3. Thanks: 4. ‘Roosters’ 5. Opening up the council: 6. Farting in the library: 7. My God meets Chris.

The people [well some of them] have decided. The votes have been counted. I think a shock for many has been the sad loss of the Mayor Heather Tanguay. She was up against huge spending and a great deal of disruption to her campaign. She was also up against a seriously organised ‘Clique and cliché driven public campaign’. I for one admired greatly her work in the community and especially with her effort in supporting those new arrivals to our city and communities. She is a wonderful person and I wish her and her family all the best for the future. Heather’s long spell as a councillor and then mayor will not be forgotten. It takes a lot of courage to stand as mayor alone when your opposition hedges their bets. Her sponsored forums on specific issues of community importance were the highlight of her three-year term.

Palmerston North is cruel to its mayors for it dumps them after three years, is there a message there for Jonathan? It’s almost as if everyone wants to be mayor. There are hundreds if not thousands of citizens who will remember Heather with pride mainly in the smaller working class communities. Hero’s come and go, but some will not be forgotten and Heather is one of these. A working class success story.

2. Only two sitting councillors lost their seats both Gordon Cruden of Hokowhitu and Ian Cruden of Takaro. But Gordon Cruden slipped back in because Jonathan Naylor was elected mayor. It’s great to have a second chance.

Newly elected were Michael Feyen, Annette Nixon, Chris Teo-Sherrell, Ross Linklater, Jan Barnett, Bruce Wilson, David Ireland and myself and this means almost half the councillors will be new this coming term. It is a great responsibility that they have undertaken. An alert eye will have to be kept on future activities but with a new and community minded CEO’s support, the council may bring back under control the massive borrowing that has been undertaken. Improve communication with ratepayers and cease the division simply because the tight eight has now all but disappeared.

3. To all those candidates who campaigned, especially those in the Awapuni Ward I say thank you and I wish you all the best for the future. I wish also to thank Gwen Morris, Val Wilkinson, John Bos, Janice Feyen and Marilyn and Bruce Bulloch for their hard work and support. Together the impossible is possible. To all those readers of my weekly newsletter or listeners to my Access Manawatu radio broadcast and others who sent best wishes or who assisted in any way I also say thank you. I also need to thank the Trustees of Access Manawatu, The management committee of Age Concern, The members of the Palmerston North Residents Association and lastly the Community Services Council for my lack of performance over the past couple of months.

4. No doubt the local press played a part, a large part, in the mayoral campaign, it would appear that the ‘Roosters’ have done well…be that as it may, last weeks Radio NZ media watch programme was of great interest to this candidate. This is just to let the editor of the Manawatu Standard know that the Roster has landed.

5. The first major step is to review the Milson Line closure spending to see if millions can be saved in the short term. The second is to keep the Ward Committee progress advancing to assist in opening up the council to the citizens. Awapuni, Ashhurst, Papaioea, Fitzherbert and Hokowhitu had a functioning ward, while Takaro did not. We must not let this happen again. We must not allow channels of communication to close. I’m also deeply interested and getting an insight into how easy it seems to be for various property investors to be able to transform council direction over matters like the bridge and lake…I will need your help over these and other matters. I’ll keep you informed as to clinics once a location is known. I would expect the first to be held in the New Year.

6. Hello Peter,
"Just heard the results, well done! I'm suddenly looking forward to the new term and what it produces! By the way, John Wall also suspended my son for farting in the library. My son readily and happily owned up to this dramatic transgression. But he refused to bend over and be caned as a punishment! I still can't understand the severity of the offence! Sincerely, Thanks for that. Boy it must have been some fart to shake the library on its foundations!


7. My God was looking through the last council agenda [8th Oct] and she was shocked. On page 107 Cr. Peter Claridge was reported as saying that he regretted that he supported ‘The cock’ tower…and on page 114 in the apologies Chris Teo-Sherrell, was called Christ…this shocked my God. From my perspective having a Christ in council could be a big help to the new mayor. She agreed and added that since Christ is her son she’s putting adoption papers into the system to claim Chris Teo-Sherrell as her own. Let me tell Chris that if my God starts speaking to you as she doe’s to me, you’re in for a few home truths…

That’s it for this week, I’m a day early because on Wednesday its non-stop and besides that I have nothing more to say. Never forget you are the most important people in the world.

Papers to Conference

Papers to Conference




Peter Cleave












A new collection of old work.





ISBN

978-1-877229-17-6






Campus Press

26 Sycamore Crescent,
Palmerston North

Thanks to Micah and the team
at Warehouse Stationery
Palmerston North

Bound by New Life Bookbindings
28 Avenue Rd
Greenmeadows
Napier


























Introduction

The present collection starts with a paper about Samoan and Maori. That paper is seven years old but is the most recent here. People are writing to me about older material rather than more recent work. So this collection of older material is intended to meet present demand.

I am not sure that this is the right approach. The references in the collection are sometimes well out of date. Sometimes it all seems to be from another day. Some of the debates seem quaint in hindsight and so on.

Having said that, some of the papers , the opening one for example, seem more useful today than when they were written. For reasons that escape me the last essay on literacy seems to be opening more doors now than then. I even wonder now whether it is about literacy. Whatever that paper is about it has drawn a lot of comment.

One debate that may not be quaint or out of date may be the one discussed in the review of Francis Pound and Wystan Curnow from the early nineties. We might well ask what happened to this discussion. We might well also ask what the conditions for a talk like this are in 2007.

The essay on the Pa Maori which is really just a review of Best's book has always seemed to me to leave questions unanswered in the wider literature and I still think that the idea of Kai signs might be worthwhile.

There is, I suppose, a nod to other work that I find really interesting such as that discussed in Native Voice. Some of the journal work in Aotearoa, especially that found in Illusions in the nineties is, I think, important.

The discussion of o and a, the so-called case system in Maori is here through demand. This does go with a lot of other publishing in 2007. It is also, I think, a discussion of commentators which is unusual in this area. By contrast to the the work on literacy and the Pa Maori the social work papers won prizes and were published in international collections. In this sense the collection is a mix of the known and the obscure. I hope this makes up a little for the age of the collection,

Peter Cleave,
Wolfson College
2007






CONTENTS


1 Strengthening language: some more thoughts on Maori and Samoan
2007

2 Whatever happened to the Pa? Paper to the Social Anthropology Conference, Palmerston North, 1992

3 Native Voice, Illusions, 26.

4 FRANCIS POUND: HISTORY, ART AND THE SEMI-COLON, Paper to Applied Social Science noho marae at Taita in March 1996.

5 Fields of light, fields of pain; small group work in social work education in Aotearoa/ New Zealand. Following a paper to the International Federation of Social Workers in 1999.

6 On teaching o and a. Following a paper to the Sociology Department, Waikato University in 1980.

7 An ethic of empathy. Following a paper to the International Federation of Social Workers in 2001

8 What do we know about the mark on the wall? A paper written in the early nineties and presented on the internet in 2007.

Papers to Conference is available from Campus Press at 30 NZD. Simply place your order in the Comments Box

Papers of Contest

Papers of Contest


Peter Cleave





ISBN

978-1-877229-21-3


Campus Press
26 Sycamore Crescent
Palmerston North




Introduction

The theme of this collection of papers is contest. There is a challenge in each paper.

In the first paper conventional research is challenged with an idea of indigenous modes of inquiry.

The next paper looks at confrontational theatre and film in the 1990s.

The discussion of Francis Pound and Wystan Curnow considers images, symbols and the art of a place, a country, I suppose.

The review of Martin Blythe's book involves several of the themes so far considered as well as others and tries to describe an exciting analysis.

The consideration of the native, the outlaw and the frontier widens the perspective of the collection.

The rest of the papers in the collection take the idea of contest into different areas.

The discussion of Suzie Cato takes the discussion into mainstream media in Aotearoa/New Zealand.

By contrast the next article looks at work with perhaps more limited but nonetheless highly critical audiences and the construction of or the playing with a notion of the Pakeha-Maori.

The final paper is a consideration of the grotesque. This raises a number of questions that are left hanging and that, I suppose, is what happens in a collection with the theme of contest,

Peter Cleave






Contents
1 Wahi rangahau: places of inquiry

2 Native voice: 1981 and all that

3 Francis Pound: History, art and the semi colon

4 A review of Martin Blythe

5 Native, outlaw and frontier myth

6 Suzie Cato says 'Kia ora...'

7 Negotiating and constructing the Pakeha-Maori in 'The Piano', 'Monday's Warriors' and elsewhere

8 The projection of the grotesque; Maori and Pakeha-Maori in 'The Piano' and the construction of the ignoble savage in Aotearoa

Papers of Contest is available at 30.00 dollars NZ plus postage from Campus Press. Simply state your order in the Comments box

Papers on Social Work

Papers on Social Work



Peter Cleave



Second Edition









ISBN

978-1-877229-21-3
Papers on Social Work
Second Edition

Campus Press
26 Sycamore Crescent
Palmerston North

Thanks to Micah and the team
at Warehouse Stationery
Palmerston North

Bound by New Life Bookbindings
28 Avenue Rd
Greenmeadows
Napier








Introduction

These papers venture into several areas of social work but there may be some features that set the collection aside.

The first is an emphasis throughout on social work education. This interest is set out in in the first chapter where there is a comparison between local and European traditions. Work by Carola Khulmann and Peter Cleave appears early in the collection and is then taken further in subsequent papers.

One emphasis or theme which keeps coming up is to do with a ethic. This is touched in the comparison of social work in Germany and Aotearoa/New Zealand, looked at in the article, An ethic of empathy, and touched on again in the article on iwi social services.

Another theme is to do with indigenous ways of research. The paper on rangahau is the most discursive in the collection and the intention here is to take the arguments as far as they might go without necessarily coming to fixed conclusions.

Yet another pertains to the dynamics of small group work in social work learning and teaching. This work is perhaps the most widely published while some of the other papers are offered to a broader readership for the first time.

The consideration of broadcasting and social work is, I think, different from the other papers in many respects and, along with the paper on iwi social services, a little tentative in its conclusions These are both new areas of work for me and it shows. In later editions the intention is to refine and develop the arguments involved,


Peter Cleave









Contents

1 Ethics and Social Work Education

2 An ethic of empathy

3 Broadcast identity and social work

4 Social Work and Iwi Social Services: an historical approach

5 Wahi rangahau: Places of inquiry

6 Fields of light, fields of pain: small group work in social work education in Aotearoa/ New Zealand.

Papers on Social Work is available from Campus Press at 30.00 NZ dollars. Simply state your order in the comments box.

Song for Ueno Park

Song for Ueno Park. Goodnight Blue composed and performed by Peter Cleave

Myanmar

Last Gasp Cafe 92

Song for a Plane. red Bus composed and performed by Peter Cleave

Song for a night on the Steppes

Saw You composed and performed by Peter Cleave. First time, one take.

Song for a night in Osaka. Hey, hey the moon

Hey, hey, the moon composed and performed by Peter Cleave

Last Gasp Cafe 90

Hey, hey, the moon composed and performed by Peter Cleave

Last Gasp Cafe 89

One for Jack the Trombonist. Veronica Bay: Folk Version. Composed and performed by Peter Cleave

Song for a Princess

Sweet killer Love composed and performed by Peter Cleave

Last Gasp Cafe 88 Song for Aja

Song for Aja. Sweet Killer Love composed and performed by Peter Cleave

Last Gasp Cafe 87

Concert itar. Run Ruperfor a spade, a drum, a tie and a guitar composed and performed by Peter Cleave

Last Gasp Cafe 86

Song for the Ferry. Changing Chairs co posed and performed by Peter Cleave.

Last Gasp Cafe 85

Song for he long night. Radio story aka The Story Continues. Composed and performed by Peter Cleave

Notes on Anna

Notes on Anna

Anna was originally a chord progression of ADE done slowly with each chord in a sixth shape and no sevenths. The song was written on Napier Hill in 2000 and was part of a show on Alan Maddox, the idea being that Maddox, in a reflective mood, was thinking about Anna Hoffman. The slowness of the chord progression and the use of bar shapes was meant to give a 3am effect, the party after the guests have gone with a few people sitting around. It goes with Veronica Bay a song which has Maddox or MadX in a gloomy state at Veronica Bay at the bottom of the hill. My house on Seaview Terrace looked out across the water and down onto the bay. It also goes with Colin a song written about the night Maddox went the Stairways Gallery to learn of the death of Colin McCahon. Also with Cutting Up Your Mates, about Maddox and Clairmont threatening to cut up one another's paintings. Depends who is telling the story as to who is threatening to cut. I had Maddox.

Coming back to the bar chords these were influenced by a few things. Working on the boats out of Auckland in the late sixties those of us from South Auckland would often stay in town. They had what was known as 'working by'. This meant that you started by what they called 'standing on the corner' The corner was the Seaman's Corner and you did not stand as much as just hang around until your name was called to work on a boat that day. This all started about 6.30.

So you would get called out, go to work on a boat- you could always shower and change on the boat- until about two o'clock and then repair to the Birdcage. When that closed at six o'clock you would go to the back bar at Gleeson's which was near the Seaman's Corner and stay there until it came time to walk a few yards and stand on the corner again.

And there was always someone with a guitar who, around the two or three am mark, was playing the kind of chord progression that I wanted to put, in 2000, into the song, Anna. Laurie Garnett or someone...Gerry Hill would know.

Originally it had an introduction that was slow Django Reinhart stuff that I had learned or attempted to learn from Paul Marx in the early seventies. I'd seen Paul and John Hayday produce this sequence of chords for my play Voices in the Street at a point where Roy Billing as Sam wandered around stage thinking about things. In the late seventies I'd attempted this sequence myself while busking with David Walker in Marble Arch London.

At that time the Oxford University Rugby League Club was a musical outfit. Howard Henry used the bar chords in Cook Islands Songs. Dave Walker had figured out Chuck Berry in an interesting way. People who had nothing to do with Rugby League but who knew about music were always around. Someone who I called Radio Four because he ran a programme on blues music on the BBC seemed to always be on shoulder. Solomon Islanders. We would meet at he Gardeners Arms so Dan and Winnie Davin and co were always there.

Radio Four would go on about the Black Mardi Gras in New Orleans and his stories had an influence on Veronica Bay and also on Radio Song which was composed in 2005 as I tried to get marching effects such as you het with a trombine on the step up, or forward in a march.

But Anna or its introduction were not about marching but about kicking back and laxing out.

The other influence on the introduction was a scene towards the end of a film called Hail Hail, Rock and Roll where Chuck Berry is relaxing and playing a set of slow chords. John Johnson, Chuck's pianist, may be in there too somewhere. Chuck is getting over an evening of straightahead Rock and Roll which had been organised by Keith Richard.

I don't think there is a recording of that introduction.

The chords in he song and those in the intro are the chords people play to get over rock. Recovery stuff, reflective guitar.

Another influence was an old song by Dean Martin, To know you is to love you.

So far all this is pretty cute but what happened next and then after that broke things up a bit.

In 2001 the song got picked up by a Hip Hop crew, Rebirth from New Plymouth and Palmerston North. Rebirth liked the lyrics and were not impressed with the chords- the sevenths, sixths, bars etc- at all. They got rid of the guitar altogether. Rebirth liked the tune I guess.

So they, Brother Teepz mainly, gutted the music and put in a strict hip hop bass loop with a kind of organ sound on top.

This version is the one that people who listen to Kia Ora FM know. On any given Friday night it will be requested from a happy hour at a place in Awapuni and people sing along and carry on about it.

Rebirth's music has lasted in terms of requests from a highly critical rap audience on Kia Ora FM. Different. Warren G comes closest I suppose.

That direction ceased when Tipene aka Br Teepz went to prison for murder in 2002.

At the same time and into 2003 the song Veronica Bay got taken into a very different direction when it was included in Peter Wheeler's collection of stories and songs, Angels and Demons. In a word it all went folk. Whoever mastered it, someone at Radio Access, Palmerston North, really got into the guitar work and built it up. The story of that guitar work is another one altogether. The audience was very different, the collection being extremely well reviewed by Professors of History and English Literature.

The song Colin, written to describe the reaction to the death of Colin McCahon by people at the Stairways Gallery in Napier, went in yet another direction. There are people in the Urewera who like a single string version of the song.

Coming back to Anna.

In 2004-5 I did an insane, for me, amount of work on guitar for Radio Song/The story continues for Alicia Keys and Aretha Franklin. This changed what I do with the guitar. That includes later versions of Anna. One string work. Low notes.

In 2005-6 I started to get interested in Anna Nicole Smith as part of a general interest in performers and performance work found at the outskirts of E. There are a whole set of songs from around this time the best of which is You're Free for Ana Carolina Reston in 2006- also done as a song for Sally Rodwell whose partner Alan Brunton published Anna Hoffman's two volume autobiography.

There is also a lot of work on pitch from this time in which I remain, I think, the sole interested person. The Kingdom of the Keys is the song that comes out of that. High vocal. Mongolian throat music. Talk about Lennon coming through. It got creepy enough to go back to the guitar plus vocal in one take, the Last Gasp Cafe.

In 2006 a version of Anna was produced as a dedication to Anna Nicole Smith. The guitar work was redone in, I guess, an E style- after the TV channel E- so that it functions or is meant to function as background muzak. Popular.

And out of that and some commentary on Anna Nicole Smith there came a long and involved discussion with people on the net about Anna's inheritance from the oil tycoon. The song started or helped to start a discussion on contract law.

When Ana Nicole Smith died there was another kind of thing altogether about the song. The lyrics were foregrounded, the guitar was distorted.

As it came through on the net the song that went onto the net after Anna Nicole's death is ragged, sloppy even. The video is tired.

So I tried to get back in a version using lots of script in the video, taking the song back to Anna Hoffmann of Papatoetoe. Again the guitar work is nothing much. But it could well be time to make notes on Anna, the video, Anna, the look. Something for Illusions and the Film Archive, something for models.

In 2007 there is a Last Gasp Cafe which features Anna using single string work.

Lyrics

Anna

Like a trip on the tongue
You sit in my mind, Anna
Like a wind in the sand
You tickle my fancy Anna
Oo ee, Oo ee
The moon comes gently down on you,
Anna

Send me a line from your ocean liner, Anna
Tell me the time where the sun meets your mind Anna,
Oo ee, Oo ee
The moon comes gently down on you,
Anna

Musical interlude
Oo ee, Oo ee
the moon comes gently down on you
Anna

Like a trip on the tongue
You sit in my mind, Anna
Like a wind in the sand
You tickle my fancy Anna
Oo ee, Oo ee
The moon comes gently down on you,
Anna

Broken Road in Japan

Broken Road composed by Esme and Peter Cleave and performed by Peter Cleave

Song for a Catwalk: Broken Road

Song for a Catwalk: Broken Road composed by Esme and Peter Cleave. Performed by Peter Cleave

Broken Road in China

Last Gasp Cafe 84

Have Fun Over There
Broken Road composed by Esme and Peter Cleave and performed by Peter Cleave.

Thirty Days Green

Rugby World Cup

Prayer Service broken up by Deputies in New York

One for a Valley Boy

Red Bus composed ad performed by Peter Cleave

Top Tier Gas?

50 Cent and Kanye West

Population and establishment of Amazon Rain Forests challenged

AI and chimpanzee behaviour

Fashion Week: Stefani and Lauren

Apple and Volkswagon to produce iCar?

Berlin Climate Treaty

Mother cannot recognise Amy Winehouse now

Davydenko sharp in China

Robber licks a woman's toes?

Last Gasp Cafe 83

Song for Hannah. Lady So Far composed and performed by Peter Cleave

Locating missing children

Song for an Anime

Red Bus composed ad performed by Peter Cleave

Last Gasp Cafe 82

Song for the City Girl. Red Bus composed and performed by Peter Cleave

Scientific developments in nutrition?

Dirty Sand on Florida's beaches

Last Gasp Cafe 81

Song for the tree. Long Black Jar composed and performed by Peter Cleave

Ex mobster talks to tennis people about unusual betting patterns

Internet gambling and tennis

The health of women in Africa/Melinda and Bill Gates Foundation

Song for a Walker

Song for a Walker. Idol, composed and performed by Peter Cleave

Last Gasp Cafe 80

Concert for the Half Smile. Idol composed and performed by Peter Cleave.

Active Crystals

Ana Nicole Smith

Last Gasp Cafe 80

Song for the Two Headed Boy. Idol composed and sung by Peter Cleave

Burma's illegal wildlife trade

Song for a coffee. Cafe Vertex composed and performed by Peter Cleave

Matt Toka

Song for a coffee. Cafe Vertex composed and performed by Peter Cleave

Last Gasp Cafe 79

Song for a coffee. Cafe Vertex composed and performed by Peter Cleave