puff 540 Wed 13th

Aotearoa Waka questions of the day
What is Germany doing about Greece?
What are Italy and France doing about the Roma?
Why is the EU failing to stop the kinds of human rights abuse that seems to be happening with the Roma in Italy and France?
Are countries in the EU supporting one another adequately in economic terms?


Peter Cleave at the London
Peter Cleave on guitar and vocals at the London on George Street Palmerston North- Fridays and Saturdays 6- 8.30pm. The London is one of New Zealand's best restaurants. Come and eat. The gig goes into its second month. It started with a show called Peter Cleave aqnd the British Invasion to go with the theme of the London. Beatles, Stones, Van Morrison and the like and it carries on from there.

Saying of the week
Our mistakes don't make or break us - if we're lucky. Then, they simply reveal who we really are, what we're really made of.
- Donn Moomaw
Kim takes the high road- Kim Kardashian 'fine' after bar attack Published: 6:56PM Monday October 11, 2010
Source: BANG Showbiz
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Kim Kardashian - Source: BANG Showbiz


Related News
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Kim Kardashian says she is totally fine after being attacked by a jealous female.

The 29-year-old beauty had a drink thrown over her in New York's Juliet Supper Club while filming scenes for her new reality show Kim and Kourtney Take New York with sisters Kourtney and Khloe, and Kourtney's boyfriend Scott Disick.

She explained: "I want to address this because everyone has been asking me if I'm ok after the bar fight last night. I'm totally fine, guys.

"Last night, Kourtney, Scott, Khloe and I went out to a bar to have a fun night on Khloe's last night in New York. A drunk male fan came up to me and asked to take a picture, and I obliged, but his girlfriend, who was also drunk, got a little out of hand."

The socialite - who moved to the city earlier in the month to open a new DASH Boutique store - admitted people "try to get attention" when they see the cameras in action.

She added on her blog: "Luckily I had Scott and Khloe there to protect me. None of us were drinking . we just wanted a fun family night out, but when people see the cameras rolling, they try to get attention and I guess that's what happened when the drunk girl saw that we were filming Kim and Kourtney take New York.

"I always take the high road, so we all left straight after and didn't feed into their drama."

Wednesday 13th
Kaupapa koorero moo te raa
Te Ao Paaho

Rangahau
He koorero anoo moo Paul Henry me ngaa mea wheenaa i te ao paaho. He aha te pai o ngaa taangata peenei i te ao paaho? E aha taatou moo eenei taangata i ngaa waa e tuu mai?


Subject of the day
The world of broadcasting


Analysis
More discussion of Paul Henry and people like him. What is the value of people like this in the world of broadcasting? What will we do about people like this in future?
http://en.wikipedia.org/wiki/Shock_jock
Aotearoa: The Collection
The carvers have come up with the idea of a whare to house these ten volumes by Peter Cleave and this will have inlays of pounamu and/or jasper. Aotearoa: The Collection is being ordered as a celebrity gift and is one of a kind in Aotearoa/New Zealand.
ISBN
978-1-877229-45-9

Retail NZD 750.00

Maori Unpacked continued
3

So what do we do next with this unpacking business?


Let's carry on with a naming word.

te tai,
the beach

or te tangata
the person

There, we've unpacked a noun!

Two nouns in fact!

tai, beach
and
tangata, person

How many nouns do you know in Maori?
Make a list of ten or however many you know- at least two now- and
put them in the Noun Box!

Or should we draw pictures of them with titles and hang them on the wall?

Or take the pictures and the titles and make mobiles?

Or just make a space in a village of the mind for the Noun Family?

How about inventing a Magic Trick for nouns? Put a card with a noun on it and unpack it from a false bottomed hat!

Isis: the dancing tramp by Benjamin Drum continues
Part Eight
Snatch

When they take the papers back to London Edmond the tramp is kidnapped. It happens as they approach a taxi just outside Paddington Station. Suddenly three taxis appeared from nowhere, Edmond who was lagging a little was whisked into one, transferred into a car within minutes and whisked away.

Juan was pleased. The snatch had gone without a hitch. The so-called Private Investigator who had accompanied the Tramp was really a dreamer.Now it was a matter of following the rest of the plan to the letter. Hold the subject and get ready for despatch.

Simon and Sam were stumped. There had been no tail. So the kidnappers knew they were coming. It had been so smoothly done. Simon was angry at himself for letting it happen and not seeing it coming. He and Sam had gone to London with the Tramp as interpreters rather than protectors. They had not even discussed the idea that someone would kidnap the Tramp.

Once matters are in the hands of the Police Sam and Simon try to get on with things. They have the signed papers for the lawyer so they take them to the lawyer's office.

William the lawyer is an expert in tracing beneficiaries for a finders fee. He is transatlantic. But he is very definitely South of England at the same time. He goes to the opera.

He is a shadowy mix. Odd lawyer, PI, chaser, finder. When Simon did a check on him he found that one thing seems to easily lead to another with William.

William likes horses. He bets on them. He owns one. William goes to the races as he goes to the opera. To meet people and swap information. He would be just as happy to stay on the farm with a horse. But a big part of his business is information.

He is mates with movie stars and politicians. When William does a check on Simon he finds out about the case of the Trapeze Twins and finds Giselle's name. He knows her by reputation and files her name away for future use.

William is Control's nephew. Such a small world in the South of England. They stay in touch albeit intermittently. Theiy ae similar people in certain respects Sifting gossip and sorting information is second nature to both of them.
Papers on Social Work 4th Edition by Peter Cleave has been released by Campus Press, There is a discussion of Whanau Ora the New Zealand government's strategy for social work announced in April-May 2010. There is a revisiting of the theme of restorative justice. All this and the classic, prize winning essays on social work education and value systems that have made Papers on Social Work one of the best selling books in the Campus Press set, internationally and locally.


Papers on Social Work, Fourth Edition has the ISBN
978-1-877229-47-3

NZD 65.00 including tax plus 12.50 Post and Pack no matter how big the order.

Payment COD into nominated account.

Delivery within a month.

Order through comment or email to puffmedia@yahoo.co.nz using the Order Form at the bottom of this email.

About the author.
It is said that Peter Cleave has more books in New Zealand Libraries than any other author. Beginning as a collaborator on The Oxford Picture Dictionary of Maori in 1979 there has been a consistent pattern of a book published, an article in a referred journal and then a radio commentary repeated over a long period. With this pattern of published work have come the prizes; the First Class Masterate from Auckland University and a Commonwealth scholarship to the University of Oxford, the Phillip Bagby Scholarship and Rhodes Foundation funds while doing the Oxford Doctorate, the chair of the college common room and on from these to taking the prizes for best paper at conferences like the International Federation of Social Workers in Montreal in 2000.

Peter Cleave is without peer at the meeting place of language, culture and criticism, locally and internationally and this is seen in the sale of his books to libraries in New Zealand and Australia and around the world.

At the same time Peter Cleave, a former captain of the Manurewa High School First Fifteen in South Auckland, works on community radio and touches base with working people. He left school to work on the MV Tofua, a Banana Boat and began to learn about the Pacific, something he is still doing.

About Campus Press
Campus Press is the biggest academic press outside the universities in New Zealand. It was established in 1992 and for the last twelve years has been based in Palmerston North. Campus Press mostly supplies libraries.

Papers on Social Work, 4th Edition follows other releases in 2010 like Takutai: the Foreshore and Seabed, New Zealand’s most topical book with implications for US, European and other coastlines. ISBN 978-1-877229-46-6 See the attachment for the cover.



Takutai, the foreshore and seabed by Peter Cleave gives an historical background and then an analysis of the 2004 Foreshore and Seabed Act and the 2009 Ministerial Review. There is a wide range of examples of co-governance and co-management by iwi and councils of the foreshore and seabed from around Aotearoa/New Zealand. International case studies are also given. The Conclusion sets the scene for the Repeal of the Act and the introduction of new legislation in 2010.

What the critics had to say about the advance article;

one of the most well-conceived discussions of the present state of the Act that exists in print anywhere. …an extremely useful contribution not only to academic discourse, but to issues affecting the national life of the country.

Professor Paul Moon

Takutai costs 65.00NZD from Campus Press with a 12.50 NZD freight charge no matter how big the order.

Order by return email using the Order Form at the bottom of this email if you like.

　

Full Review of Peter Cleave’s Ten Volume Set

By Paul Moon

July 2009

The very nature of academic publishing is that it serves a niche market, and in a country as small as New Zealand, that niche can be so narrow that some books probably never see the light of day because they are simply uneconomic to produce. So when a ten-volume set of books is released, written by Professor Peter Cleave – one of New Zealand’s respected academics – attention is bound to be aroused by the scale of the venture, and by the promise of a substantial body of content.

The work’s opening volume comprises a collection of articles, some of which are new, and some of which are revised versions of existing articles that Cleave has written or presented. The relevancy of the work is underscored by the first paper, which contains suggested options for dealing with the vexed issue of the Foreshore and Seabed Act 2004. The Government has indicated that it will reach some conclusions on this matter within the next two months, but regardless of what is decided, it will be interesting to see the extent to which Cleave’s recommendations are reflected in Government policy, and for academics to debate some of the themes raised long after any settlement has been made at a political level. This article stands out as being the most detailed in this volume, and certainly one of the most well-conceived discussions of the present state of the Act that exists in print anywhere. For this piece alone, the first volume in this collection makes an extremely useful contribution not only to academic discourse, but to issues affecting the national life of the country.

Other articles in this volume focus on issues surrounding Maori language – its survival, its transition from an oral to a written language, and its re-emergence as an oral and written language. To this is added a highly original and possibly even provocative piece on conceptual interpretations of pa; a reflection on issues associated with the 1981 Springbok rugby tour to New Zealand, and concludes with a series of brief but brilliant articles which tackle a variety of culturally-charged concepts, and which, among much else, challenge the reader’s understanding of meanings associated with them.

From a collection of articles, Cleave then provides in the second volume of this collection a book. Starting points? A discussion of contemporary Maori society and culture, is primarily about New Zealand historiography, into which is injected a broad range of arguments and perspectives relating to issues such as culture, identity, tradition and modernity, and the media. One of the great strengths of this volume is the extent to which Cleave is able to draw on international material and examples to illuminate his arguments, without the reader ever getting the sense that he is being overwhelmed by comparative examples from other countries. It is a difficult balance to establish, but when handled as masterfully as in Starting Points? The benefits are immediately apparent. The theme of literacy raised in the first volume reappears briefly in this one, but in a substantially different context, with a strong connection with the way in which history works in cultures that had/have strong oral components. In the central sections of this volume is a series of analyses of the works of other writers, in which Cleave adopts the format of quoting passages from articles, and then providing a commentary on them. This is an approach to criticism that is too seldom utilised. In the case of this volume, it has enabled Cleave to deconstruct and then reconstruct ideas and themes, using these sources as interchangeable building blocks – able to be assembled in a variety of forms according to the writer’s perspectives.

Following on from Starting Points? is the third edition of one of Cleave’s seminal works: Rangahau pae iti kahurangi: Research in a small world of light and shade. This work, on themes and approaches to research in a broadly Maori context, has become a recommended text book for many tertiary course around the country, and draws heavily on traditional concepts of learning and understanding as part of the basis for one of the frameworks of research. The traditional is not closed off from critique, however, and Cleave’s great strength in this area is his ability to combine an in-depth cultural knowledge with recent scholarship on research, producing insightful and useful conclusions for anyone engaged in this area of study.

Another third edition in this collection is Papers on Social Work. His volume is made up of seven papers dealing with subjects from the more standard ones, such as ethics, to the some unlikely choices, such as the city space and social work, and the thematically-related article on places of inquiry. Yet, whether predictable or otherwise, Cleave brings new insights and challenging perspectives to the reader. Even the most experienced social work practitioner would be bound to have the perceptions of their profession augmented as a result of reading this book and absorbing some of its ideas.

Papers on Social Work is followed by the 244-page volume Papers on Language. Made up of thirteen articles, this work has Cleave again drawing on a useful quantity of international scholarship, and revealing why he is so highly-regarded in the academic community. There are too few writers in this country capable of combining material from so many different disciplines and in a way that produces such a wide variety of perspectives. Again, there is some material here that appears elsewhere, but its precise employment this volume avoids any sense of repetition. A few of the shorter articles in this volume would be suited mainly for teachers of te reo, but otherwise, the tenor of the works as a whole is well-suited to the general academic reader.

The next book in this collection is the 197-page What do we know about the mark on the wall? Images, rules and prior knowledge. As for its subject, Cleave opens with the teasing line: ‘As the author I still have difficulty saying what his book is about’. But rather than answer with a pithy summary, Cleave allows the ideas contained in this work to speak for themselves – no more, no less. Themes about the meaning of ideas, place, and memory compete with topics on historiography, sociolinguistics, and social geography, among many others. This is probably the most challenging book in the collection. Cleave moves, sometimes with great speed, from one topic to another, often leaving just hints of whole new areas of potential exploration. The reader might feel settled with an idea, and then in the next paragraph, Cleave might challenge that idea from several angles, before hauling the topic elsewhere, with a series of careful thematic links. There is no stated topic for this book, and nor ought there to be. It is like a rhapsody, with different motifs surfacing at various points, connected by very little at times, yet, at the conclusion, it all seems to have a link of sorts to the idea of knowledge. This is possibly one of the most satisfying yet challenging works in the collection.

Te Pu Tapere- the impulse to perform, formerly known as Depot Takirua, is the third edition of this work, and focuses mainly on the electronic media. At 204 pages, it is as substantial a work as any of its companion volumes in this collection, and for those studying film and television in New Zealand, it would be indispensible. This most certainly ought to be a prescribed text for all media students. The portrayal of Maori in film and television comes in for close scrutiny here, and Cleave seizes on several deficiencies and stereotypes in the way culture is presented in popular culture. The chapter on Jane Campion’s The Piano is one of the outstanding portions of this book, and as all the other chapters, offers insights that hitherto have not been available to readers interested in these areas of study. Some of the essays in this work date back to the 1990s, but have been revised where appropriate to maintain their currency.

Iwi Station: A Discussion of Print, Radio, Television, and the Internet in Aotearoa/ New Zealand also has a string media focus, as the title suggests. However, in keeping with the general approach of the other volumes in this collection, Cleave has added elements of history, sociology, and anthropology into the mix. And instead of merely being descriptive about the topics he has chosen, Cleave continually probes and questions to elicit deeper meanings behind them. This is most certainly a text that should be compulsory reading for every journalist and person involved in the media in New Zealand. In particular, it lifts the lid on the sorts of conceptual developments in thought that have led to the status the media currently has in New Zealand.

This collection, coming out as a single set, is unique in New Zealand academic writing. But the format and quantity side, the lasting value of these works is in the ideas they express and the changes in perception that they will bring about for the reader. Cleave deserves full praise for the contribution he has made in these works to the intellectual conversation about New Zealandness.

Paul Moon is Professor of History at Te Ara Poutama, the faculty of Maori Development at AUT University.

There are ten books in the basic Campus Press set. All of these are 200 pages or more in length. Terms of Trade are that the books are available from Campus Press for 57.00 NZD as individual titles or for 400.00 NZD for the Collection.

An Order Form is copied below. To order simply copy the send it by return to this email.

Terms of trade are $57.00 to Campus Press. There is a $7.50 Post and Package cost no matter how big the order is.

Titles and ISBN numbers are below;

978-1-877229-35-0 Aotearoa, papers of contest, Third Edition

978-1-877229-32-9 Maori Unpacked Second Edition

978-1-877229-37-4 Iwi Station Second Edition

978-1-877229-39-8 Papers on Language Third Edition

978-1-877229-42-8 Papers on Social Work Third Edition

978-1-877229-43-5 Rangahau pae iti kahurangi Third Edition

978-1-877229-44-2 What do we know about the mark on the wall Third Edition

978-1-877229-43-5 Te Pu Tapere- the Impulse to perform, formerly titled, From the Depot Takirua, Third Edition

978-1-877229-41-1 Papers to conference Fourth Edition

978-1-877229-38-1 Starting Points


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William is also, it turns out, Selwyn the Don's nephew. More like a small village than a small world, the South. He shares nothing with the Selwyn though. They are utterly different people, related by blood alone..

He liked French cooking. Not that he does much himself. But William has a couple of favourite restaurants. In these he likes to be alone or with select company.

William goes to the theatre to be social and of course to gather and spread information. He also enjoys dressing up for the theatre just as he does for the races.

William has a wife with expensive tastes. To a worrying extent. William is on a treadmill. He must make money. His wife is from Hampstead Heath but of Russian origin.

His best mate was actually his sister. Tight as ticks. Had always been for reasons that he could not really fathom. But there is was. They would talk for hours on the phone usually when he was at work.

Julio took the Tramp to a safe house and rang the ex Stasi in South America to let them know. A cheque was made up for William. His wife would be kept at bay in the meantime at least.

From Blog Talk Radio Paul McCartney to ‘Nowhere Boy’ Star: John Lennon Never Punched Me! Posted: 06 Oct 2010 04:37 AM PDT Do you want to know secret? Nowhere Boy, the new John Lennon biopic opening Oct. 8—on the eve of what would’ve been the rock icon’s 70th birthday—isn’t 100 percent accurate. "It's crazy to think, but it's the only part of his life that was never filmed," Aaron (above) says of John's pre-Beatle days depicted in "Nowhere Boy." So says fellow Beatle Paul McCartney. Interviewed on Milling About, Nowhere Boy star Aaron Johnson discusses Sir Paul’s reaction to the flick. “Paul said he loved it and thought it was great,” the British actor tells host Robin Milling—but then adds: “He said, ‘I can’t remember Lennon ever punching me in the face!’ during one of the scenes. “But if that’s the only thing he was worried about, then we’re off.” Aaron also asked John’s widow, Yoko Ono, how she felt. “Yoko gave her blessing and basically stayed out of the way while we were making the film,” he says. “And she cried when she saw the movie. “She was very gracious and complimentary about our performances in the film and how I portrayed Lennon when he was younger.” Aaron talks, as well, about feeling John’s presence while filming. “When I got out of the cab by The Dakota [the Manhattan apartment building where John was slain in 1980] and got out where he got out—I know this might sound really strange—but it felt spooky, and the energy around there is upsetting. Paul: Me mate slug me? Piffle! “There was this one time where I perform Hello Little Girl in this room and it was quite last-minute where we found this location. “It was a house and it was in south of London. I was sitting on a sofa where I was trying to sing the song,” he says. [Director] Sam [Taylor-Wood] didn’t like the carpet either, so she wanted to take that out and move the sofa. “When we did pick up this carpet, underneath—exactly where I was sitting—was this newspaper preserved from the 1960s, and it had Lennon’s face right on it!” Click here to hear Aaron Johnson’s full interview. Click here to check out the Nowhere Boy trailer.

Daily Highlights: Wednesday; October 6, 2010 Posted: 06 Oct 2010 04:33 AM PDT Aaron Johnson, who plays young John Lennon in Nowhere Boy, chats about the Beatle’s widow’s reaction to the new biopic. “Yoko gave her blessing and basically stayed out of the way while we were making the film,” he tells host Robin Milling. “And she cried when she saw the movie.” Mutha Knows host Mutha kicks it with hip-hop diva Rah Digga, formerly of Busta Rhymes’ Flipmode Squad, who last month released his first album in 10 years, Classic, featuring the tracks Who Gonna Check Me Boo, Solidified and Viral. The VRO’s Amy McCracken and her coven of co-hosts sit down with Stephen Martines, who plays super-bad vamp Frederick on CW’s Vampire Diaries. The former General Hospital star will speak out against bullying—at home, at school and online. The S Word’s Shannon Baether hangs with Monique Dupree—aka The Black Scream Queen—who’s headlined in such horror flicks as Bikini Bloodbath Christmas and Satan Hates You, while also appearing in hits like The Replacements and American Gangster. Best Ever You hosts Elizabeth Hamilton and Katie Eastman sound the trumpets for Shannon Devine, who was recently crowned Mrs. International 2010. The North Carolina mom of 2 discusses her work as an advocate for the National Council for Adoption. Conversations with Linda’s Linda Lawson gives it up for soul singer Bettye LaVette who—after 43 years of making records—finally got her props in 2005 with the release of I’ve Got My Own Hell to Raise. The diva will chat about her new album, Interpretations: The British Rock Songbook. Thousands of live radio shows broadcast live everyday on BlogTalkRadio. Find out what’s on live now.