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By introducing ABS as compulsory for two-wheelers, Indian government is looking to enhance safety factor and reduce the possibility of road accidents. In India, riding concern is primarily based on infrastructure apprehension as well as unpredictable riding conditions.
Mandatory addition of ABS in two wheelers is a noteworthy step for saving lives in the country. According to estimation from Bosch’s accident research study proposes that every third accident involving a two-wheeler can be shunned by the means of ABS fitment to a motorcycle. Moreover, the equipment can also diminish the chances of collision speed for every fifth accident, therefore decreasing the relentlessness of injuries sustained.
Furthermore, new vehicle models introduced in category L2 (three-wheelers) with an engine displacement less than or equal to 125cc with max power more than or equal to 16.09 bhp and power to weight ratio equal to or more than 0.134 BHP/kg manufactured after April 1, 2018 will also be fitted with ABS or CBS.
Vehicles fitted with ABS have better chance of avoiding accidental possibility that is beneficial for the rider. This new notification will definitely play an important role in reducing the rate of accidents in the country.
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The commuter segment is where the sales volume comes from for all the motorcycle manufacturers. These are the simplest, lightest and the most efficient machines amongst all motorcycles and therefore, most manufacturers have multiple models in order to capture a bigger share of the market. Within the same, the 125cc motorcycle segment has seen immense growth in the past few years. With slightly more power than the entry-level 100-110cc commuter bikes, the 125cc segment is also the volumes segment for motorcycle manufacturers. In a way, the status quo in this segment is what you would call perfect competition.
(The CB Shine was given an update a few months ago)
Now, Honda Motorcycle & Scooter India is clearly the leader in this segment. The 125cc Honda CB Shine is the largest selling motorcycle in the world, within the Honda portfolio of course and the second largest selling Honda in India. Just a few months ago, Honda had given it an upgrade in the form of the CB Shine SP – with some new premium cosmetic upgrades, and an extra fifth gear in the transmission.
(Yamaha is looking to grab a slice of the 125cc segment with the Saluto)
Unlike Honda, Yamaha has chosen to take a top down approach, introducing larger capacity motorcycles first and then going down the displacement graph. The Saluto is Yamaha’s answer to the 125cc Honda CB Shine SP. But does it have what it takes to grab a slice of the 125cc motorcycle market? Read on to find out.
Looking me up
The Yamaha Saluto definitely seems to have borrowed some design cues from its larger 150cc siblings, but the styling overall is quite toned down. The sharp headlight, sculpted fuel tank and trendy graphics give the bike a fresh identity and sleek look. It’s not really what you would call a headturner, but Yamaha has marketed it as a practical, family motorcycle, and overall the design works – not too flashy, not too boring, yet it manages to look attractive.
(Yamaha Saluto details)
The Honda CB Shine SP is an updated version of the CB Shine. The new model gets a few ‘premium’ bits, like new body graphics, redesigned dual tone side panels, blacked out engine and new alloy wheels. There’s also a new headlight unit, new instrument panel and a new chrome finish exhaust cover. Overall, the silhouette hasn’t changed much, but the CB Shine SP looks new and definitely feels like an upgrade from the earlier model.
Features and feel
Getting the common ones out of the way first, both the motorcycles get alloy wheels and electric start. One feature in particular that caught our eye was the grab rail on the CB Shine SP. It is a regular metal one but with a rubber covering around it, which makes it easier to hold on to, even for long duration. Both the bikes get disc brake as an option, but the Honda also has the CBS (Combi-Braking System) which keeps hairy moments at bay, most of the times. The switch gear on the Honda feels a tad sturdier than the Yamaha and is sorted ergonomically. One has to take his palm off the grips to operate the indicators, headlamps et al. on the Yamaha. The quality of plastics could have been better on the Yamaha. The Honda takes the cake in this department too.
(Honda CB Shine SP details)
The Yamaha has a fully analogue instrumentation panel while the Honda has a part digital part analogue instrumentation along with a trip meter as well, which the Yamaha misses out on. Although, the instrumentation console on the Saluto is easier to read.
Performance pressure
Both the motorcycles feature a 125cc engine. And that’s where the similarities end. The Yamaha makes 2 bhp less than the Honda but makes up by being 12kgs lighter as well. Having said that, the Shine does feel a bit peppier than the Saluto. At high speeds, the Saluto feels a little stressed while the Shine is at ease, thanks to an extra gear, which does make a lot of difference at the top end. One can feel the vibrations creeping in on the handlebars and the foot-pegs of the Saluto after 65-70kmph. The Shine, like all Hondas, is refined and will not leave you with tingly hands after a long commute. The shifts are crisp on both motorcycles and the handle-seat geometry is comfortable as ought to be on a commuter motorcycle. Also, at speeds of up to 65kmph, both the motorcycles are happy to potter around. But once you go past that mark, the motors seem to feel the strain.
(Yamaha Saluto vs Honda CB Shine SP)
Riding and handling
The ride on the Yamaha is a tad firm thanks to a stiff suspension, which no doubt aids in handling. The Shine’s ride is plush and with the extra weight it also feels more planted at higher speeds. Both the motorcycles are light enough to filter through traffic laden roads without any fuss and can be flicked easily. The Yamaha, owing to its lighter weight scores a point or two more than the Honda in this regard.
(Yahama Saluto)
In terms of braking, the CB Shine SP comes off much better than the Saluto. The CB Shine SP we tested had a disc brake up front and the CBS as well. Needless to say it offered great confidence and solid feel even under hard braking. Also, the Honda held its line in panic situations.
The Saluto couldn’t have been more different. Our test motorcycle had the regular drum brake setup and it didn’t warrant for much. There is no feel and the bite is almost non-existent. One has to anticipate the stopping distances well in advance. But fear not, the Yamaha Saluto now has a disc brake variant as well and we will definitely recommend the disc brake version instead of the regular drum brake one.
(Honda CB Shine SP)
What we think
Priced at 54,500 (ex-showroom Delhi) for the front disc brake variant, the Yamaha Saluto is the less expensive option here, and offers good value for money and better fuel economy as well. It rides well, handles well, and there’s nothing to really complain about the bike. It’s a decent product in the 125cc segment, but the Saluto is still not good enough to dislodge the segment leader. Whatever the Yamaha does, the Honda still betters it. The ARAI rated fuel efficiency figure for the Yamaha Saluto is a commendable 78kmpl.
(Yamaha Saluto vs Honda CB Shine SP rear three quarters)
The Honda CB Shine SP is the more expensive option at 62,400 (ex-showroom Delhi) for the disk brake variant. The top-of-the-line CBS variant is even more expensive at 64,400 (ex-showroom Delhi). Despite the premium price, the CB Shine SP is certainly a very good product. The CB Shine SP will go for 65 kilometres on a single litre of petrol, significantly lesser than that of the Yamaha Saluto. Also, Honda has a better sales and service network than Yamaha, which again is a plus for the CB Shine SP. So, despite a costlier price tag, the Honda CB Shine SP still retains its position as the leader in the 125cc segment. But, if you’re purely looking at a value for money proposition, the Yamaha Saluto still makes a very compelling case for itself.
(Photography: Surya Karan)
Fashion photographer Karen Woo shot the latest collection of the Peter Jackson label. In the campaign the main characters are SAM WITHERS and DAN HARRIS.
When the late Peter Jackson launched his eponymous label in Melbourne in 1948, it was driven by a passion to provide Australian men with high quality, high fashion menswear at an affordable price.
In the 68 years that have followed, much has changed – silhouettes have been refined, the product offering expanded, and stores are being rolled out at breakneck speed across the country. But what hasn’t changed is an unwavering commitment to making fine quality suiting and menswear, fashioned from the world’s best textiles, accessible to everyone.
Peter Jackson prides itself on dressing real Aussie men – whether they be professional businessmen, professional sportsmen, or country lads wanting to look their best for a day at the races or their best mate’s wedding.
Their Australian-designed suits are made from Australia’s finest merino wool and spun in the best European mills, yet they typically retail for no more than $499 to $599 – sitting in the lucrative “masstige” market between luxury international labels and the fast fashion chains such as Zara and Topshop’s Topman.
Peter Jackson managing director, Nick Jackson, and design director, David Jackson, are equally passionate about making the highest quality suits, made from the finest fabrics, accessible to all Aussie men. And one of their greatest strengths is in reinterpreting the hottest trends from the European catwalks for the real Aussie male.
“It’s a really exciting time for men’s fashion in Australia, as men are embracing tailored fashion more than they ever have,’” says David.
Nick says Peter Jackson has a distinct advantage over the international luxury and fast fashion menswear brands because it has an innate understanding of the Australian menswear market.
“Men are really enjoying shopping for tailored wear these days,’’ adds Nick. ‘’But you won’t see the Aussie male dressed as a peacock. You look at Europe and every second guy is wearing a red hot pant… whereas there is a real masculinity and sophistication to men’s style in Australia.”
Sam Withers
DJ and business entrepreneur Sam Withers says his everyday style is ‘dress to impress’.
Withers doesn’t mind ditching his black DJ singlet for a pair of well-tailored pants, a crisp white shirt and a simple accessory or two when out and about in Melbourne. His style tip for the cooler months ahead is to layer up your look by investing in a vest, a suit jacket and a trench coat – he says, “a boring old shirt just doesn’t cut it anymore!”
Dave & Chico – Peter Jackson store managers
‘Chico and Dave’ have a great natural rapport and exemplify Melbourne as it is today – diverse, creative, evolving and exciting! Chico is originally from England and Dave from Ireland and both love the vibe and colour of inner city Melbourne and the people. Dave loves colour and bold men’s accessories including knuckle duster rings and large chain bracelets whilst Chico’s look is classic and tailored to the nines – both guys making a strong style statement in their own right.
Dan Harris
Dan is a Financial Planner by day and a blogger / model in his spare time. He a group of mates started “The Gallant Army” www.thegallantarmy.com and have fun experimenting with fashion.
For winter, Dan will be wearing warm turtle necks, leather gloves, well cut leather jackets, tweed trousers and leather boots – for him timeless style overrides current trends every season.
Dan has worked and lived all over the world and has documented his travels using one of the 1960s point and shoot cameras from this extensive collection. Through the lens, Dan has been influenced by stylish locals in London and Milan and references their street style when he curates his own wardrobe.
Photos: Karen Woo @heykarenwoo
Models: SAM WITHERS @djsamwithers; DAN HARRIS @danieljamesharris
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A study published in the Journal of Public Health reveals that gay and bisexual men below the age of 26 are six times more likely to commit suicide or harm themselves than older men. The researchers explain that unlike younger men, men above 45 are more capable of coping with homophobia and could possibly be more privileged in other aspects of their lives.
Moreover, young gay and bisexual men are also two times more likely to be depressed or anxious. Meanwhile, black gay and bisexual men are also twice as likely to be depressed and five times more likely to commit suicide compared to white men.
Men with lower educational backgrounds are also two times more likely to suffer from the same problems due to lower income. On the other hand, men who received higher education are less likely to experience one of these issues.
The researchers point out that some of these men may also suffer from discrimination unrelated to their sexuality, which adds to the report. Nevertheless, their study shows that mental health problems are rampant among gay and bisexual youths as well as minorities.
“Poor mental health is not evenly distributed across race, income or education,” says lead author Ford Hickson from the London School of Hygiene & Tropical Medicine. “We must ensure that access to life-changing support services are targeted to where they are needed most. Everyone has the right to good mental health.”
The research team suggests that cohabitation can improve these problems. They say that gay and bisexual men who live with a partner are 50 percent less likely to experience depression than those who live alone. Living in areas with high population of gay and bisexual men such as London could also result in positive mental health because these men are less isolated and less discriminated.
The study is the first one to investigate the differences in mental health among gay and bisexual men. It involved the data analysis of 5,799 gay and bisexual men, ages 16 and above, from the Stonewall Gay and Bisexual Men’s Health Survey conducted in the UK.
April Guasp, the Head of Research at Stonewall, adds that the study provides more data about the risks of poor mental health within the LGBT communities. Guasp hopes that this would lead to targeted treatments.
Mitsubishi Motors Corp (7211.T) said its vehicles sold in the United States from 2013 have accurate mileage readings, lowering the risk that its fuel economy cheating scandal in Japan may have a wider global impact.
Shares in the Japanese automaker surged 8 percent on Thursday, the first day of gains since the scandal erupted last week. But even so they have lost nearly half their market value or about $3.7 billion on fears of hefty compensation costs and fines.
It has admitted to manipulating test data for four domestic mini-vehicle models, including two it produced for Nissan Motor Co (7201.T) and has said that more models may also be non-compliant with Japanese regulations.
It compiled data for fuel economy tests using U.S. standards, where higher-speed, highway driving is common, rather than Japanese standards, where more prevalent city driving commonly consumes more fuel.
Mitsubishi’s North American unit said in a statement that it had re-tested vehicles for the model years 2013 to 2017 and found that their fuel economy readings were accurate.
While North America is one of Mitsubishi’s smaller markets, accounting for roughly 13 percent of the automaker’s annual global sales, the potential for hefty fines and compensation if rules were broken is seen as much greater than in other countries.
In Japan, Mitsubishi may have to reimburse customers for fuel costs and the government for “eco car” tax breaks.
It is also taking a large hit to sales, saying this week that its domestic orders have halved since the scandal broke. The automaker has halted sales of the four affected mini-vehicles.
Japan’s transport ministry said on Thursday it plans tests to measure the fuel economy of vehicles made by Mitsubishi next week and will announce results on the first four models in June.
It has also set up a task force to examine fuel economy data submitted by all automakers.
(Reporting by Ami Miyazaki; Writing by Chang-Ran Kim; Editing by Edwina Gibbs)
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Duncan Greive interviews Emily Edrosa as Street Chant’s long-delayed second album Hauora is released, and discusses the often-grim realities of life as a woman in the New Zealand music industry. Content warning: contains discussion of sexual assault.
I met with Emily Edrosa twice in April. We went to a pub near my office, and each time she was wearing a Street Chant t-shirt. This seemed to me analogous to the way founders of tech startups wear the company’s logo on shirts at all times. Startup founders never know when they might be around a potential client or investor; Edrosa never knows when she might be around a potential fan. She’s also got that startup mentality of living on bad food and sleeping on couches – a deep commitment to the project, to sacrificing comfort for a dream of something bigger.
Where she and startup founders differ is in pace. Hauora was released a full six years after Means, and she did the first pre-release interviews, with the writing and recording essentially complete over three years ago. She wrote affectingly about the yawning delay for The Pantograph Punch: “I can’t express what a struggle this album was to write and complete. Writers’ block, poor band dynamics, substance abuse problems… you name it.” That was in September of last year – the album was still seven months away from its release.
Still, despite the darkness of that list of delaying factors, there’s a persistent black comedy to Street Chant – both lyrically and in the vaguely radical sharing of their social media presence. It’s a way of experiencing the band which is as valid and enjoyable as listening to their music (and probably as profitable).
A typical example is a photo posted in mid-April of Edrosa embracing Billie Rogers, the only remaining founding member of the band (they’re on their third drummer). Edrosa had a row of stitches along her chin, and the text told of a theft of a show’s takings and the quasi-home invasion required to get them back.
We met on either side of our publishing ‘I Will Come Forward’. She had messaged me as soon as the first tweets emerged, and spoke privately about some of her experiences as a woman in what she would characterise as “a man’s world, the music industry”. That formed the backdrop to our conversations, which are condensed and edited below.
What were your first experiences of sexism in the music industry?
When I was really young we went on tour with The Datsuns. Their guitar tech – who’s probably one of the more famous guitar techs in New Zealand – he was just giving me shit the whole time and Billie as well. About using too many pedals, telling us about the sound, which I’m used to – like sound dudes literally walking onstage and changing my EQ on my amp.
I remember once a guy asked me for my autograph and [the tech] came up to me and was like “is that your daddy, is it?” in a real creepy voice. And I was 22, it was probably one of my first tours. I was just like, “is this what the music industry is like?”.
It got to the point where Alex, our drummer, went up to him and said “hey man, you’re gonna have to chill out. You’re making some really inappropriate comments” and he goes “why, are they bleeding?” And then Alex was like “what are you talking about, man?” and he was like “well that’s what they do, don’t they, women? They bleed.”
We told The Datsuns and they were shocked. I think we didn’t have to be in the same space as him again.
There’s this weird thing with New Zealand where one strand of its musical history venerates a kind of primitivism with guitar. But then at the same time even within that scene, you definitely get the sense that there’s a particular way to do that and when women come into it they were being scrutinised extra hard about how they play.
It’s only in the last couple of years that I’ve wanted to even express femininity in my music. And I was thinking that with this album I really hoped that people wouldn’t use the same adjectives as they did last time to describe us, which was “bratty”. Which to me is like a gendered thing. They wouldn’t have done that to two dudes, I don’t think, unless they were a lot younger than we were. We were in our early twenties.
I was thinking about it – I’m pretty good at the guitar, but I worked to get there because I was aware of that scrutiny and I didn’t want to be compared to Le Tigre or Sleater Kinney. Because I felt like if we sounded like a girl band, we’d be marginalised because people see it as a genre. But I’m actually kind of ashamed of that thinking, because that’s me buying into it as well. And I’d watch my friends on stage and dudes in the crowd would go “they’re not even that good at guitar” and then some dumb garage rock band would come on after them who cannot play and everyone would be like “yeah!”
There’s this whole extra layer of distance that you must cross before you’re allowed into the “real musician’s club”.
I had to fake it. I didn’t know what I was doing. I had to walk in there and be like “this is what’s happening” – but if I do that then I’m a bitch. You can’t win. I wanna make music for girls to feel comfortable to go to the shows and to feel like they want to dance to. Not for dudes in Flying Nun shirts to stroke their chins or young dudes to brood to or anything like that. But then also I’m ashamed that I thought to express femininity was some kind of weakness.
There’s that reflexive thing, particularly with men of a certain generation, have about pop music. The same kind of reaction as when Kanye started using autotune. If you’re trying to make a pop-rock record, do you find that you have to almost chase voices out of your head that are trying to tell you that writing a huge hook is betraying some kind of sacred text?
Totally. And voices that aren’t in my head too. Voices that are in the room. Maybe it’s a New Zealand thing? To me there’s nothing wrong with ambition and there’s nothing wrong with trying to write a pop song. Some people like to turn the vocals down and put heaps of reverb on the terrible lyrics.
That always seemed like a cop-out to me. It said “this is the ceiling, be stoked with a gig at King’s Arms” you know? I don’t think that that was in you guys. I felt that there was more.
I think so too – but then I thought about it too much and fucked it up. I just did an interview with the Herald earlier today and I just found myself saying like “I don’t care, I reckon that I am one of New Zealand’s best songwriters.”
And for me to even say that as a woman, and maybe even as a New Zealander, is like a political act. People want to play to nobody. People want things to be average so then they can’t be disappointed. I don’t know what it is in me, maybe it’s arrogance but I don’t know, maybe I don’t have anything to lose. Who doesn’t want their music to reach as far as possible?
Do you feel that way about Hauora?
I think one of the things is doing it at home and I didn’t have anybody on my back, I didn’t have the record label saying “this is the date”. I think that would’ve helped because otherwise I’m just gonna do mixes forever, try plug out plug-ins forever, try harmonies forever.
Obviously you do have a record label but the involvement wasn’t in that way. Was that you resisting that kind of input or was the input just not being there?
We’d send Ben [Howe, head of Arch Hill] mixes and he’d give his opinion but I just don’t think he wants to be that kind of label. Honestly, I don’t know if I want that kind of label – but I think I need that kind of label. For it to take so long I think was maybe a self destructive move on my part because, more than anything, I want to be able to pay my rent by making music.
Recording Haoura in Edrosa’s room
Why did you stop being interested in guitar music?
I think it’s boring and I think it became resigned to averageness. If Pavement is your benchmark, you know, like I love Pavement – but they never tried.
But not trying was kind of a revolutionary act, when they didn’t try. But then everything that came since was…
People like mumble, people don’t care about lyrics, people don’t care. I dunno, maybe it’s a real white person thing.
Like a disease of irony.
I don’t fucking sit around watching cooking shows or shows about how to build a house. I’m sorry I know you probably do.
It’s my job.
I think it’s because rock music is basically being led by, and maybe I need to be opened up to some new stuff, but by white men, mostly middle class. And what have they got to prove? That’s why all they do is stand on stage and stare at their shoes and mumble some words. Not even just people from New Zealand but worldwide, that’s the thing.
Hip hop music is far more interesting because you’re coming from a different space. They don’t have time to go stand around a half-filled bar and play to their mates. Somebody said to me the other day, “you need to come from a certain privilege to follow your dreams.” Rock music: I don’t know what’s wrong with it.
What is it about hip hop that you found so much more attractive?
It’s actually far more interesting music to me. All the references you can look up on Rap Genius. I want to do that with my lyrics. I did do that with this album. Nobody fucking does that with rock music. I dunno, I like hip hop because it makes me feel strong and like I don’t feel strong all of the time. I’ve got bad hauora, what can I say. I just reckon that people aren’t trying. People just aren’t trying with rock music. But even if a dude comes out with rock music right now and he’s trying – a white dude, it’s not gonna be enough for me.
When a Kanye record comes out – and we’re speaking in a post Life of Pablo, post-‘Famous’ situation – it feels like it’s got risk hardwired into it lyrically. And look at Young Thug who’s just vomiting out releases and works like an absolute dog. It feels like a relentlessness to how they’re committing themselves to their art which is just different.
I would like to be more like that. Maybe that’s it as well, why rock music is boring. Where are the collaborations? It’s just one voice all the time. People who do rock music have a weird kind of idea, I guess maybe financially it’s easier to do your UMO, your Tame Impala nowadays, and play everything yourself. Financially it probably makes sense, but I also reckon like the idea behind it is they want it to be like a single genius. Like a Brian Wilson-type. Hip hop is just full of collaboration and it just makes it so much more interesting.
Edrosa holding an LP of Hauora, six years in the making. Image: Supplied
Interview part two: conducted on Wednesday April 20. We start off talking about ‘I Will Come Forward’
There were all the quotes [in response to Tidball’s original statement] which were like “I don’t know what this is about but I support you.” Like what the fuck kind of way is that to treat anything? Especially that kind of thing. You arrive at my house with blood all over your clothes, “hey I don’t know what this is about but I support you.”
But I feel like the music industry itself needs to take responsibility. I mean, I got into an argument on Facebook the other week about how much of a responsibility it is for the promoter to show diversity in the lineup. Because otherwise why are women, why are trans people, why are people of colour gonna feel comfortable coming to a show when there’s no fucking visibility? It’s hard to even think about now but it’s a man’s world, the music industry.
I think it has gotten a lot better in maybe the last three years. I don’t what that reason is and the cynic in me actually says that it’s like the rise of the ‘90s being in fashion. Tumblr ‘90s. And people have taken the good bits. And I think obviously they’ll stay because people are woke now or whatever.
It’s not surprising. I’m just trying to imagine how that would feel because as a white dude, you know, things have always been relatively sweet and easy for me. So it’s just not something I immediately think about. Then suddenly, you’re right, it’s like a post-Tumblr realisation that it’s been easy for a reason and it’s really fucking hard for everyone else – but for exactly the same reason.
It is and I constantly, constantly feel like, with regards to my place in the music industry, I’m dealing with men but most of the time – and to be honest this includes you when you guys were managing us – I’m being surrounded by like older dudes who are whispering in my ear what I should do. And it’s fucking confusing because everyone’s saying different things and it’s like everyone’s speaking at you with a real authoritative tone. And I kind of feel like no one’s ever actually said to me like “what do you wanna do?” I can’t remember specifically if you did or not…
I almost certainly wouldn’t have.
It was you but then on the other side it was Bob Frisbee, John Baker. I think now that I’m older I’m less of an idiot. I know why people were interested in Street Chant then. I know why we were on the news or whatever. It wasn’t because of the decisions that all you guys were making, it was because of me. It was because of the spontaneous decisions that I was making – but society, man. I didn’t even trust myself.
So how have you been management-wise since?
We’ve just been self-managed. I think there were like a couple of moments where we’ve had people but they’ve acted more like booking agents. Because I dunno, on our level, can we really afford to have somebody taking 20 per cent? No.
If the person taking 20 per cent was doubling your revenues, then sure.
Exactly, but there’s no way. Even from promoting this album now, I’m trying to think about how we’re going to promote it. There’s no RipItUp, really. Is there a Groove Guide? I dunno who’s gonna publish us. There’s no Real Groove. There’s no print press, there’s no music channels. I kinda feel like I can just do everything myself, really.
You said before [we started recording] that the Tidball thing isn’t just some isolated situation. That you’ve been sexually assaulted more than once…
By like dudes in local bands as well. When people think of someone that’s going to be a sexual assaulter, they don’t think that they’ll like The Smiths. “That’s not what I imagined. I didn’t imagine that person when I learned about what a rapist was.” It’s not like that and people need to get that idea out of their head.
Do you feel like your experience is particularly divergent?
Honestly, I find it hard to find – and I don’t know if this is just from the music industry or just being a woman in the world – more of my friends have been sexually assaulted than not. It’s because of a number of things. It’s because everyone in New Zealand walks home, everyone knows each other, and everyone is wasted the whole time. People just don’t understand that there is no grey area. People thought that a world of grey existed before the last two or three years, I think. And people do victim blame. I victim blame myself, saying “aw I shouldn’t have drunk that much” – but fuck that attitude. It’s only that I’m a bit older, in my late twenties, that I can even be aware of it and claim it or whatever.
It’s weird because, like you say, separating the music industry from society is kind of impossible to do. It’s a child of it, even if it’s got more extreme elements of it. Do you feel like there are things that could be done?
I have a huge alcohol problem. But I’ve never, ever sexually assaulted anybody. And I’m a lesbian. I dunno, same rule should fucking apply. Like, I get blackout drunk all the fucking time. Just because you’ve got some sort of Babyshambles complex or whatever – people need to be held accountable. And also, when you hear something – I was fucking telling my friend at a party the other week, we were high as shit but I was like “aw you’re still friends with that person because I know that that person is a rapist, is a sexual assaulter.” And it’s someone that we all know.
And when you hear this stuff and you go “aw sorry yeah I’d heard that.” I’m like “well why they fuck are you still mates with him?” Then they go “yeah but it’s like those girls…” and it’s like “but what?” It’s like it’s awkward for them to talk about.
Which in the scheme of societal niceties, surely it doesn’t outweigh sexual violence. And they’re just always there. Fuck, I’m guilty of that. I’ve probably forgotten more stories like that than I can recall, just like you.
I know one dude who is a literal rapist and every party I go to my friends are hanging around him – and I’m like “nah that guy’s a literal rapist and you all know this. Go to fucking hell.” But nobody will do anything about it because it might be an awkward convo. Never mind anyone else.
Recording bottles falling over at Roundhead. It never made the album. Image: supplied.
Before we were talking about your tour with The Kills – it sounds like it has been hard for you with women who have achieved a certain level of status within the industry.
Our first big tour was with The Dead Weather and that was Jack White’s band with Alison [Mossheart] from The Kills, and she did not give one fuck about us. It was an all male band, all male crew, everyone was yelling at us the whole time. I stood on one of fucking Jack White’s leads or something and everyone’s screaming at me. I feel like “just remember!”
How quickly people forget. Just remember how fucking hard it is to be a woman in this industry. I would’ve appreciated a hand. I actually don’t think she said one word to us. She just sat in the corner smoking Marlboro Lights.
People fall in love with this vision of how a rocker should look and act.
It’s so fucking done. It’s so outdated.
The worst one I saw was this guy and he was like “well that’s what rock’n’roll is”, and he was like referring to David Bowie and the underage groupie scene and stuff like that. And being like “well that’s what everyone signed up for.” The whole thing to me was just particularly disgusting. And I think this is where a lot of people get it wrong or wouldn’t have expected – it’s meant to be a place for the misfits to escape that.
And for me it was because I thought if I was going to get sexually harassed it would be by jocks – not, as I said before, by someone who likes The Smiths. But then Andrew, he used his mana in that world to assault people so it’s kinda more disgusting. I feel like he’s a bit of the boogeyman for this whole kind of thing.
It’s very easy for people to go “oh I won’t work with him.” Cheese on Toast, in my opinion, hasn’t been that relevant in years. He’s not that attractive, he’s not in your friend circle. People need to think about rumours that they hear about people that play in bands, or their flatmates, or their friends’ boyfriends, and have the same standards.
Street Chant out front of the Grey Lynn villa where Haoura was recorded, and which features on its cover.
You’ve just got back from the South island leg of your tour – it sounded pretty chaotic.
After the Dunedin show we just went to sleep in our friend’s lounge – we’d stayed there last time and some cash had gotten stolen, but it was only like $40 and some ciggies I think. We thought that was pretty weird. But then we woke up this time and all this money was stolen. We could tell that bags had been rifled through. And we looked at who was there, cos they were sort of partying afterwards. I was asleep cos I was so tired, but yeah, it was like a fan of Street Chant who had messaged me asking me for my lyrics and who was there last time as well. We just immediately knew because everybody else who was there was basically like extended family.
So you went and got it back?
We went round to their flat and they were coming back from town and had obviously been spending it up.I was, like, in shock and I was very calm – I was just like “look, we’ve all done stuff that we regret when we’re drunk. Can you just give it back? Otherwise… that’s fucked, why would you do that?
“And I’d probably ruin your life on social media, let’s be honest.” They just wouldn’t admit it for ages. Then our friend, who we were staying with, just started screaming. They just went and got all the cash out of their room and handed it to us.
It’s such a brutal fiscal exercise, touring in this country in the first place. Then someone steals your cash. How’d you get the stitches?
None of us know how to drive either so then we had rush and try eat some food before we got on the Intercity bus to Christchurch, which was like hell. It was filled with teenagers. Then the bus driver was screaming at us like she was our mum. It’s a long drive, longer than in the car. Maybe like seven hours. Then we arrived and didn’t have a soundcheck and played again, straight away. Afterwards we were loading the gear out and I was just running and then I hit this sign, this low sign. There were many streetlights – it’s Christchurch so probably not – but I dunno, obviously I was pretty tired and not in the best frame of mind. And then I just fell on my chin.
Because it was the last night of the tour we were just happy and excited and we were just like ‘let’s keep partying’. Billie just taped a sanitary pad to my chin and we tried to keep partying. Then I actually went and looked in the mirror finally and it was this gaping hole in my chin. I was just like “take me to fucking A&E.” It was like 4.30am, which was good because it meant there was no queue. I had to get five stitches.
Do find as you get older that all of the different things you just described, which sound insane but also some variety of normal for doing that kind of thing – do they get harder to take?
I feel like that’s what being on tour is. It’s just constant problem solving, whether it’s like you’re at the venue and your fucking lead won’t reach the amp to any number of things. Just problem solving constantly. Yeah I think I am finding it harder as I get older, just because we arrive at the venue and then we have to do the door, and then I get exhausted from being nice to people and I’ve got social anxiety so I wanna drink during that time. So I’m drinking and then I’m onstage probably a little bit more pissed than I should be. Or I’m just so tired that I have to drink to stay awake. Every city you go to everyone’s like “tonight you’re in town so we’re gonna party!” And when you’re staying on people’s couches you’ve gotta party by obligation. And I don’t want to, well, sometimes.
But then you can’t afford hotels. And if you can’t afford hotels then basically you exist in public spaces.
Yeah I can’t deal with that, I’m a shy person. And also I’m just fucking tired, I would like to lie down. But then we want to do the door because we don’t want to pay a door person cos we’re fucking broke. But then we’re very happy and lucky to be doing this. Because I know that there’s a lot of bands out there that people don’t fucking wanna go and see.
You guys are a successful band. Imagine if all that were true and you get 12 people in. For most bands, that’s what happens.
Or the venue won’t even book them. So yeah, we’re pretty fucking lucky. People come up after the show and they’re like “I love you. I think that you’ve got the best voice in New Zealand music. You’re an amazing guitarist.” Say all this shit to me and quote lyrics from my song and [a friend] will be like “you know that person snuck in.”
That still goes on? What are you charging now?
For this tour we wanted to do presales just because it’s like more pro or whatever. So we did $10 presales and then we wanted to do $15 on the door but it just like seems so much. People still want $5 shows. People still think $10 is too expensive. Because they think if you have passion you should want to do it for free.
I read that Pantograph Punch piece you wrote which was really cool. It had this honesty about a lot of the stuff we’ve talked about. Where did that come from?
I can’t bring myself to lie. And plus I feel like the truth is more interesting. I don’t know what excuse I would give as to why our record took so long. What’s more interesting than the truth? That I had a fucking mental breakdown and had dreams about having a baby every night. I dunno, I feel like it’s so interesting it sounds made up.
Can you talk about the breakdown?
I probably shouldn’t use that word but I kind of did, a bit. I mean, I alienated myself so much. I was just in the bedroom of that house, that’s the one on the cover. And so I didn’t really talk to anybody except for my girlfriend, and she would have to come around to my house. We were recording in my room with Bob and Alex and I was so chronically sick at the time.
It’s such a damp house. Such a damp house and I’d probably just spend two or three days in bed a week cos I’m like allergic to most things. Well I’m really only allergic to dust and cats but I drink a lot and I’m allergic to like pesticides and cleaning stuff but I can’t afford good stuff or organic food. So it’s like I’m fucked. And I drink so much that my liver’s already processing that. Then living in a damp house and not getting enough sunlight.
But even in 2013 Haoura had a name. It had all the stuff it has now. Yet it was over three years away from coming out.
Yeah it was basically the same record. I guess recording this album has essentially destroyed my relationship with Alex, the drummer. Because he was there a lot, he basically was pressing record for me to do all my vocal takes and I could tell that he wasn’t into it, but I was too scared to confront him. So that’s basically the whole of 2014. At the end he finally quit. But anytime I wanted to play a show or do anything, he was just kinda, he was just passive-aggressively not wanting to be in the band.
I think I just didn’t want to listen to it, because it represented that part of my life. And then finally the whole of last year Ben was waiting for the artwork but I couldn’t think of something – I just wanted something that represented what it was about.
It’s perfect because a house should be what provides you with those four elements but that one sucked it from you, right?
Exactly. That’s the one that didn’t. It kind of was perfect. And I recorded it in that house. It’s just kind of like – I mean, most people have lived in a shitty Grey Lynn flat like that.
Does the process of actually having gotten it out, do you feel somehow changed by it?
No. I thought when I held it – I haven’t even gotten around to listening to it on vinyl and I don’t really care. I don’t really get into vinyl. I can’t afford vinyl. I have a record player and it was taking up too much room on my desk so I just put it in my cupboard. Because if I want to listen to something it’s way easier for me to plug in my computer.
In that Timaru Herald interview for Laneway in 2013 you say, paraphrased, “You expect to have a better job or life than your parents had but it’s not gonna happen.” I feel like three more years of Auckland house prices rising and the internet taking jobs and the music industry, year on year, just shrinking.
Also like protecting itself.
In what way?
I dunno, I feel like I don’t really need a record label but – I feel like that’s a hard statement to quantify. But people want jobs, dinosaurs want jobs. So much so that maybe, because there’s old people in charge of the music industry, that’s why it’s so shit. Because they don’t understand. They don’t understand what people want and they don’t understand how newer generations think and how they think about music.
I guess they come from an era with very different audience behaviour and different financial realities.
To make any money in the last few years we’ve had to sell out to Becks, which makes everyone think that we’re sellouts.
A writer I know once hit me up, furious, about Becks sponsoring music month, and I’m just like: anything to get a musician a meal, you know?
That’s how I think. He’s probably more furious because for one of the Becks things we got our lyrics on the Becks bottles – but John Reynolds is the artist who did it. And the amount of money we got for that is laughable.
Define laughable.
I honestly can’t remember but –
In the hundreds, not the thousands?
Yep.
Holy fuck.
Then John is friends with Billie and told us how much he got for that. I mean, if I had that amount of money you’d never see me again. I will never, ever see that amount of money. I don’t fucking know if we even got our money, because it just went down our publishing recuperable hole that will never be fucking filled – because who wants to hear a whiney grown woman on an ad, ever, playing rock music. Maybe on like a 90s tampon ad? But not today.
Street Chant’s Haoura is out now on LP or through Spotify. The band play The King’s Arms this Friday.
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Plainfield Police have now issued an arrest warrant in regard to an accident one year ago that killed a motorcyclist and a pedestrian. On April 28th of last year, a major crash on Route 59 at Lockport Street has apparently resulted from two racing motorcycles, with one of them striking a pedestrian. The victims were 27-year-old Sean Fitzpatrick of Plainfield, who was riding one of the motorcycles; and 52-year-old Randy Lambert of Plainfield, who was the pedestrian.
An arrest warrant has been issued for the second motorcyclist, identified as 29-year-old Michael A Bushar of Shorewood. He is charged with driving 35 miles per hour or more over the speed limit, operation of an uninsured motor vehicle, and reckless driving. The bond amount is listed at 15-thousand dollars.
1.Hint for choosing proper size, use similar clothing to compare with the size.
2.Choose larger sizes if your size are same as the flat measurement Size Chart.
Size Chart(inch)
S:—-Shoulder:17.6–Sleeve:7.8–Chest:42.5–Length:28.9
M:—-Shoulder:18.3–Sleeve:8.0–Chest:44.5–Length:29.6
L:—–Shoulder:19.1–Sleeve:8.2–Chest:46.4–Length:30.4
XL:—Shoulder:19.9–Sleeve:8.4–Chest:48.4–Length:31.2
XXL:–Shoulder:20.7–Sleeve:8.6–Chest:50.7–Length:32.0
When Pat Connaughton became a second-round selection in the NBA draft last June, the former Notre Dame standout knew he’d have to up his game.
His clothing game.
Back in college, it was common for Connaughton to walk into Purcell Pavilion 90 minutes before tip dressed like a typical college kid – blue jeans, a sweater, Timberland boots and, in homage to his Boston roots, a New England Patriots knit hat. For special occasions, Connaughton might break out a middle-of-the-road sport coat.
That wasn’t going to cut it in the NBA, where part of the game now is seeing what the players are wearing BEFORE they go play.
Now a rookie with the Portland Trail Blazers, Connaughton had his “A” wardrobe game working prior to Saturday’s home playoff game against the Los Angeles Clippers. Connaughton walked through a Moda Center back door in a conservative blue suit, but it was what was inside the suit coat that set him apart.
Lined within the fabric of the back of the coat was a reprint photo of the Golden Dome.
“Always repping ND,” Conanughton told NDI in a text message shortly after being photographed with the Dome-themed suit coat. “I’ve really upped my (clothing) game since ND.”
Connaughton appeared in 23 games as a rookie guard with the Blazers. He averaged 1.1 points, 0.9 rebounds and 0.3 assists in 4.2 minutes per game. Through the first round of the playoffs, Connaughton was averaging 2.5 points and had appeared in two of the first three games in the first-round series.
And as for that look of jeans, Tims and the knit hat?
“Hahahah RIP to that look,” Connaughton texted to NDI.
FIT: Apparently names have an influence on the way we live our life
Men named James and women called Laura are the fittest Britons, the findings suggests.
Studies show the average Laura visits the gym 26% more than her closest rival each week, she does at least two high intensity sessions and spends an average of 2.5 hours per visit.
A typical Laura is also likely to be in the gym at quiet times such as a Sunday evening and has even been known to workout on Christmas Eve.
And the average James will be in the gym on a Friday night with his total visits averaging 24% more per week than his closest rival.
JOY: Laura Trott celebrates on the medal podium after winning the Women’s Omnium
SUCCESSFUL: Laura Trott and James Guy have impressed in sport
“Our parents get a chance to be ‘creative’ when they give us our names”
Psychologist Donna Dawson
Gym chain Fitness First analysed five years of membership data to find out if there was a link between first names and health.
And Lauras and James’ workout the most and are more efficient with their time compared to any other name.
But Larrys only attend the gym during the typical seasonal peaks — January and September — then stay away for the other 10 months of the year, the data shows.
Michaels are the least efficient with their time as, though each of their sessions last on average 90 minutes, they actually spent 45% of time training and the rest socialising.
Laura Trott OBE, 24, is the reigning Olympic and European champion in track and road cycling.
Swimmer James Guy, 20, has represented Great Britain in the European swimming championships.
Psychologist Donna Dawson, who specialises in personality and behaviour, said names may well have an influence on the way we live our life, including our health and fitness.
She added: “Our parents get a chance to be ‘creative’ when they give us our names.”
DELIGHT: James Guy won the Men’s 200m Freestyle at The British Swimming Championships
EXERCISE: The research shows woman called Laura are keen on hitting the gym
She continued: “Apart from family names handed down and fashionable naming trends, our parent’s name-choice will most likely be influenced by the inspiring people living around them at that time.
“When we see namesakes like Laura Trott and James Guy succeed in their respective fields, we can’t help but be consciously and subconsciously influenced by the examples that they set.”
Trust, once lost, can be difficult to restore, as Volkswagen has discovered since the US charged it last fall with emissions cheating. The carmaker’s sales are expected to fall 5 percent this year. But, it turns out, VW is not alone among global carmakers in the need to regain credibility with buyers.
Just this month, Japan’s Mitsubishi Motors admitted it had manipulated fuel-economy tests. French investigators raided the offices of the maker of Peugeot and Citroën cars over irregularities in their emissions. And German officials said General Motors, Mercedes-Benz owner Daimler, and VW will recall 630,000 diesel cars across Europe for “irregularities” about nitrogen oxide emissions.
In addition, the total number of total recalls in the United States hit a record high last year at 51.3 million vehicles, beating out the previous record in 2014. The biggest recall involved defective airbags make by Japan’s Takata Corp.
Obviously, trust in the automotive industry needs repair – especially as it moves toward driverless cars and more automated features. The industry must be as transparent as possible and cooperate with its many stakeholders.
All eyes are now on VW, Europe’s largest car manufacturer, and how well it can recover from its emissions scandal. So far it has worked out a tentative plan with US officials to make amends with American buyers of its diesel cars. And it plans to release a report from a US law firm investigating the causes of its diesel-emissions software manipulations. But it remains unclear how much change has occurred within its management.
One model for VW is the shakeup at General Motors following its faulty ignition switch scandal. Mary Barra, the new head of GM, has changed the company’s culture to be more open and accountable. The US government stated that GM took “took exemplary actions to demonstrate acceptance and acknowledgment for its conduct.”
Regulation of the industry is not enough as vehicle technology becomes more complex and parts are built around the world. Fines and recalls are proving inadequate. Regulators are being forced to rely more on self-certification by carmakers.
The industry must reach out to private groups to ensure compliance with domestic laws. In France, for example, major carmakers have worked with environmental groups to design new ways to measure car emissions in real-world situations, not only in a laboratory. “We have come up with a very strong vision that will give full transparency for our customers,” said Carlos Tavares, head of the French company PSA. “We want to demonstrate openness and confidence.”
The industry’s ability to restore trust need not take an overlong time. It only requires the right actions.
PARK TOWNSHIP, MICH. (WZZM) – Hundred of motorcycles gathered in Ottawa County’s Park Township Sunday for the Lakeshore Blessing of the Bikes.
The 15th annual event at the Ottawa County Fairgrounds gave riders the chance to hang out with each other and pray for a safe riding season.
Proceeds from the charitable event benefit Lakeshore Habitat for Humanity and Kids Food Basket of Holland.
(© 2016 WZZM)
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No Man’s Sky’s custom PS4 faceplate is every bit as gorgeous as you’d expect from a game that looks this good.
Hello Games and Sony are yet to reveal pricing details and retail availability, but you will be able to buy it if you live in the UK and Ireland.
The limited edition custom PS4 faceplate, which features the No Man’s Sky emblem, will also be available in parts of Europe, such as France, Spain, Italy, Russia, Poland and Netherlands.
And speaking of how good it looks, No Man’s Sky has also been given another new trailer, this time focusing on the art style.
You can check it out below:
The video goes behind the scenes, as members of Hello Games talk about how the game’s art style was inspired by science-fiction book covers.
Originally unveiled at the 2013 Spike VGX Awards, No Man’s Sky is a procedurally-generated science-fiction game about exploration and survival. It makes its PS4 and PC debut on June 24 in the UK and June 21 in North America.
Related: Best PS4 Games you need to play right now
Distant planets and vast underwater environments will be fully accessible to users, while spaceship battles and potential predators can also be encountered.
And for those worried that the game won’t provide value for money, it features a staggering 18 quintillion planets. Even if one was discovered every second, our sun would have burned out by the time they were all visited.
In fact, you can catch a glimpse of the scale of the game world in a newly released 21-minute gameplay video. Sean Murray reckons 99.9% of the planets in the game won’t ever be discovered.
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