puff 546 Wednesday 20th

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
Problems are solutions in the making

Daily Highlights: October 18, 2010

Posted: 18 Oct 2010 01:51 AM PDT


Expand Music host—and electric violinist—Noel Webb grooves Carlos Santana, who recalls his earliest artistic inspiration. “When I saw BB King for the first time—live—I knew I would be that,” he says. “I wanted to combine BB King with Tito Puente and Miles Davis.



Jesse Ventura, host of truTV’s Conspiracy Theory, recalls his days a bodyguard for the Rolling Stones, telling us about the time Keith Richards flushed his drugs down the toilet upon being told the police were coming—only to see Sting and Stewart Copeland moments later he tell hostess Robin Milling.







Let’s Be Frank’s Frank Anderson gets up close and personal with actor Tomas Boykin, who stars with Kiko Ellsworth and Ginny Jones in I Am—opening Nov. 2—a modern-day Romeo and Juliet story directed by Matthew Dean Russell.


Information in a Nutshell host Felice Gerwitz goes one-on-one with Para Publishing founder Dan Poynter, aka the Godfather of Self-Publishing, whose own books on the subject include Is There a Book Inside You? and Successful Nonfiction.


Conversations of a Spirited Actor’s Tracey Moore gives it up once again for Daphne Reid who played Will Smith’s mom on The Fresh Prince of Bel-Air. The actress will chat about her acting career, which has included guest turns on The A Team and Sister, Sister.


The Stupid Cancer Show’s Matthew Zachary and Lisa Bernhard welcome Carnegie Sports Group President Harrie Bakst, Charity Navigator President Ken Berger and Pallotta TeamWorks Founder—and the author of Uncharitable—Dan Pallotta.

Thousands of live radio shows broadcast live everyday on BlogTalkRadio


Wednesday 20th

Kaupapa koorero moo te raa
Te Ao Paaho

Rangahau
He aha ngaa mea e puta atu i te Pouwhakaata Maaori a te wiki e tuu mai. He aha ngaa mea pai rawa?

Subject of the day
The broadcasting world

Analysis
What is on Maori Television in the coming week? What are the best things on?
www.maoritelevision.com/

The real oil...sense from Dr Mercola

… I believe very strongly that you do have some excellent fish oil being made. But it's very expensive. If you're going to buy that, you should buy it from a distributor that will ship it to you directly. You don't want to buy it off the grocery shelf because you don't know how long it's been there...

… As far as the fish oils we've seen out there, it's a very wide gamut of quality and stability and rancidity. I would say [25 to] 50 percent of them are rancid."

This is important to realize, because taking a cheap poor quality rancid fish oil will surely do you more harm than good.

"I think that there is some mislabeling going on," Moerck says, "[in] that the expiration date put on there is arbitrary and that the actual shelf life is less. I would bet my reputation on that that is the case – that there is fish oil that is mislabeled as far as expiration date.

We have tested these and we have found a very wide range of rancidity even in the same brand."

However, it may also be an artifact from the processing and manufacturing of the oils, or due to improper storage. The type of bottle used also impacts the oil's tendency to go rancid. Ideally, fish oil should be stored in glass or PET (polyethylene terephthalate) bottles, as they offer the best protection against oxygen.

As a general rule, brands with high turnover also tend to have less rancidity.

To summarize, here are several guidelines you need to follow to ensure you're getting a high-quality, non-rancid fish oil:

•Avoid fish oil in clear containers, because they will let through ultraviolet and fluorescent light that oxidizes the oil, turning it rancid
•Buy smaller bottles
•Have them shipped overnight to your home, directly from the manufacturer
•Buy from a company with high product turnover to minimize the possibility of getting a product that's been in storage for an extended period of time
•Store the fish oil in your refrigerator
Some Fish Oil Contain Large Amounts of Added Saturated Fat
Another problem that I was personally unaware of before Dr. Moerck told me, is that some fish oils contain added saturated fats; some in surprisingly high concentrations.

"A few years ago, there was a big controversy in England where people were buying fish oil and then reselling it by adding -- or as they say in the illegal arena, they were "cutting it" -- with a cheaper oil," Moerck explains.

"Fish oil is a relatively inexpensive oil anyway, but then people were adding… lard, to the fish oil. It's important to understand that most fish oil already has some saturated fat, 20 to 35 percent is a saturated fat naturally occurring in the fish. Through processing, you really can't separate it out."

This is one of the reasons why your fish oil turns toward a solid when you put it in the refrigerator.

But how do you know if your fish oil contains extra, added fat?

Dr. Moerck suggests:

"[I]f you look at the label of fish oil, you can usually tell if it's got any added fats by looking at the ratio of total weight and EPA/DHA.

But most people aren't sophisticated enough...They can't really tell. So if you buy, you must buy from somebody that's reputable… [N]ot a mass market-type of product."

What's Your BEST Omega-3 Source?
As far as I'm concerned, unless you can verify the purity and freshness of the fish oil, I recommend you avoid it.

A far better omega-3 alternative -- your safest and most cost effective choice -- is to take high-quality krill oil on a regular basis.

Research has established the similarities and differences between fish- and krill oil, in terms of being beneficial sources of omega-3 fats. This is explained in further detail in an August 24 article in Functional Nutrition.

Nutritionally, both contain DHA and EPA, but their compositions are unique.

According to Functional Nutrition, krill oil typically provides 14 percent EPA and DHA, along with 0.2 percent naturally-occurring astaxanthin.

Fish oil typically provides 30 percent EPA and DHA.

At first glance, it may appear as though fish oil is better simply because it contains a higher ratio of omega-3 fats. However, krill oil is far more efficient, so you actually need far less.

Functional Nutrition explains:

"In fish oil, the omega-3 molecules are attached to triglycerides, which means they must undergo hydrolysis before being absorbed into cells. Krill, in contrast, is attached to phospholipids, [and]… our cell walls contain fats in the phospholipid form…

… The phospholipid structure of the omega-3s in krill oil therefore makes them more rapidly absorbable and allows for easier entry of the omega-3s into our cells and on to the mitochondria and nuclei. The rapid absorption has an added benefit for consumers: There is virtually no aftertaste or fishy reflux that some experience with fish oils."

The conjugation of phospholipids — mainly phosphatidylcholine — with DHA and EPA gives krill oil an edge over fish oil in a number of ways… The phospholipids, by virtue of their connection with omega-3s, are exactly right for proper brain function. Furthermore, they are a part of the eicosanoids system — an extremely important hormone-messenger system in the cells of the body."

I used to recommend taking fish oil or cod liver oil (and I still do in some cases), but aside from the problems discussed above, you also have the issue of overfishing to the point of near extinction, and the potential of toxic contaminations in the oil.

And, as you increase your intake of omega-3 fats by consuming fish oil, you actually increase your need for even more antioxidant protection. This happens because fish oil, as I explained above, is highly perishable.

You have to have sufficient antioxidants to ensure that the fish oil doesn't oxidize and become rancid inside your body, as oxidation leads to the formation of unhealthy free radicals.

This is one of the main reasons I now recommend getting your omega-3 fats from Antarctic krill oil.

With krill oil, you can ensure that you're getting these incredibly healthy fats (EPA and DHA) without having to worry about oxidation issues. Additionally, your risk of getting any mercury contamination is extremely low since krill are so small they don't have the chance to accumulate toxins before being harvested.

I personally take krill oil every day. I particularly appreciate the fact that the omega-3 is attached to phospholipids that dramatically increase its absorption, especially into brain tissue.

Are Krill Sustainable?

Many have been deceived by the fish oil industry atttempt to villify krill by having people believe that using krill is taking food from whales. Nothing could be further from the truth.

For more information on this please review the article I previously wrote last year that addresses this

http://articles.mercola.com/sites/articles/archive/2009/07/21/Krill-Sustainability.aspx

Potency versus Bioavailability
I had known of krill for about three years before I started to recommend it. The reason I dismissed it initially was I made a simplistic evaluation, like many others do, and merely compared the DHA and EPA concentrations in fish and krill and fish oil was by far a more cost effective choice.

However I am now beyond convinced that this was a mistake.

This is because it is not a straightforward comparison. The amount of DHA and EPA that you need to be concerned with is the amount that actually winds up in your cell and your cell membranes.

This is where krill is the clear winner

Unpublished new data suggest krill oil is absorbed 10 to 15 times better than fish oil. This is because the triglyceride molecule that fish oil is in must be broken down in your gut to its base fatty acids of DHA and EPA. About 80-85 percent is never absorbed and is eliminated in your intestine, which causes about 50 percent of people to have burp back and not tolerate fish oil.

Then once the fatty acids are absorbed into your blood stream, your liver has to attach it to phoshphatidyl choline for it to be used by your body. The amazing beauty of krill is that all of it is in the correct form in the original pill so your body uses virtually 100 percent of it. Additionally it has the powerful antioxidant astaxanthin which prevents the perishable DHA and EPA from going rancid.

And as Dr. Moerck stated above, a large percentage of the fish oil being sold is actually rancid before you even open the bottle as it doesn't contain this protective antioxidant.

Many doctors in Europe are switching from conventional drugs to krill oil to support healthy, normal lipid levels and cardiovascular health. And the great news is that it seems to work at a lower dose, so you may only need one 500 mg capsule per day.

Remember, You Can't Substitute with Plant-Based Omega-3…
Plant-based omega-3 sources like flax, hemp, chia and perilla seeds are high in ALA – the third type of omega-3 fat. ALA is an absolutely essential fatty acid. It is converted in small quantities to EPA and DHA in your body.

Dr. Moerck recommends men to consume a minimum of 1.6 grams a day; women 1.2 grams daily. However, you do not want to consume more than 5 grams a day.

This means that if you eat just 2 tablespoons of chia seeds, you've actually exceeded your daily dose.

Still, I do not recommend using these plant-based sources as a substitute for animal-based omega-3 (DHA/EPA), or as your only source of omega-3.

Why?

Because the conversion of ALA to the far more essential EPA and DHA is typically severely impaired by inhibition of delta 6 desaturase. This is an enzyme that is necessary to produce the longer chain EPA and DHA from ALA.

Elevated insulin levels impair this enzyme, and over 80 percent of Americans have elevated insulin levels. So from that perspective alone, plant-based omega-3 simply will not work well for most people.

There are also studies that indicate ALA from flaxseed might actually increase your risk of cancer… In addition, flax seed oil is also used in industrial manufacturing, such as paint, so it can be trickier to ensure that the flax seed you get is actually fit for human consumption, since paint manufacturing does not have to worry about damaging the omega-3...

For these reasons, Dr. Moerck and I agree that flax seed oil is best avoided.

If you want to use flax seed, buy organic, whole seeds, then grind them just before consuming them to ensure freshness. This is also important because, just like fish oil, plant-based omega-3 fats are also highly perishable. For this reason you want to avoid buying pre-ground seeds, because you can be guaranteed that they have been damaged by the time you even get them home from the store.

Personally, I regularly include ALA omega-3 plant based foods, like flax and hemp in my diet, but I always use them in combination with animal based omega-3 fats.


Maori Unpacked continued
8

Te waa

He aha te waa?
What's the time?

Kotahi.
One.

Hau ki te tahi.
A quarter to one.

Hau i te tahi.
A quarter after one.

Hau rua i te tahi.
Half past one.

He aha te tau?
What's the year?

Rua mano maa iwa.
Two thousand and nine.

Aa teeraa tau.
Next year.

I teeraa tau.
Last year.

Teenei tau.
This year.

Aapoopoo.
Tomorrow.

Inanahi.
Yesterday.
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


Campus Press


Order Form


Purchaser's Order Number.....


Please send us a copy or copies of

1 Aotearoa, Papers of Contest, Third Edition, Peter
Cleave x....

2 Papers to Conference, Fouth Edition Peter Cleave x.....
3 Papers on Social Work, Fourth Edition, Peter
Cleave x....

4 Te Pu Tapere, the impulse to perform, Peter
Cleave x…

5 Papers on Language, Third Edition, Peter Cleave x...

6 What do we know about the mark on the wall? Third Edition, Peter Cleave x...

7 Iwi Station, a discussion of print, radio and television in Aotearoa/New Zealand, Peter Cleave x

8 Maori Unpacked, Peter Cleave x...

9 Starting Points, a discussion of contemporary Maori culture and society, Peter Cleave x...

10 Rangahau pae iti kahurangi, research in a small world of light and shade,
Peter Cleave x...

11 Takutai; the foreshore and seabed x...

12 Ten Volumes, a Collection by Peter Cleave x.....


Please send these books to;

Attention