Justin Bieber drops new album Swag after three-year hiatus
Comprising 21 tracks totalling 54 minutes, the project marks the return of the 31-year-old singer more than three years after his last single, Honest, a duet with
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RNZ News
24-07-2025
- RNZ News
White House lashes out at 'South Park' Trump parody
US President Donald Trump Photo: AFP / Andrew Caballero-Reynolds The White House on Thursday (US time) lashed out at the creators of South Park after the bawdy satire skewered Donald Trump in an episode featuring an AI-generated version of the US president crawling naked through a desert. In a no-holds-barred season premiere, the animated Trump character is also seen begging Satan for sex, only to be rebuffed - in part because his penis is too small. The White House was not amused. "This show hasn't been relevant for over 20 years and is hanging on by a thread with uninspired ideas in a desperate attempt for attention," spokesperson Taylor Rogers said. "President Trump has delivered on more promises in just six months than any other president in our country's history - and no fourth-rate show can derail President Trump's hot streak." The adult animated series, which frequently touches on hot-button issues in American life, is now in its 27th season and remains one of the world's most valuable TV shows. The season premiere begins with the foul-mouthed Cartman appalled that NPR has been taken off the air by the president, while Randy, a parent, is disturbed by the presence of Jesus in public elementary school. Complaints to the fictional White House receive only a threat from Trump to sue the mountain town of South Park for billions of dollars. Meanwhile, animated Trump is threatening to bomb Canada "like I did Iraq". "I thought you just bombed Iran," the Canadian prime minister replies. "Iran, Iraq, what the hell's the difference?" replies Trump. The episode, which sees the fictional Trump ride rough-shod over many aspects of American life, ends after the town of South Park makes a financial deal with the president that includes an agreement to make public service announcements. The AI generated short that follows, ostensibly one of those announcements, shows an overweight Trump staggering through a desert as a narrator casts him as a latter-day Jesus. The short ends with a naked Trump as the narrator says: "Trump. His penis is teeny-tiny, but his love for us is large." The episode aired days after creators Trey Parker and Matt Stone reportedly penned a US$1.5 billion (NZ2.4b) streaming deal with Paramount that gives the company global rights. The deal comes at a sensitive time for Paramount, which is trying to secure government approval for a multi-billion-dollar merger with entertainment company Skydance. The CBS parent caused a furore this month when it agreed to pay $16 million to settle a lawsuit Trump had brought over an interview the storied 60 Minutes current affairs programme aired with Kamala Harris ahead of last November's election. The payment was criticised by Democrats as little more than a bribe to help smooth the merger, with Paramount initially dismissing Trump's lawsuit as meritless. Last week CBS sparked fury after it cancelled The Late Show with Stephen Colbert whose host is a pointed critic of the president. The network insisted it was a financial decision, but opponents have painted the move as the latest example of American institutions bowing to Trump. -AFP
Otago Daily Times
23-07-2025
- Otago Daily Times
Female big band to visit Dunedin
After years of being the only woman in the big bands she performed in, Lana Law has embraced the idea of an all-female big band. She tells Rebecca Fox about her passion for big band music. At a diminutive 5ft, there is not much of Lana Law to see when she plays the baritone saxophone. What she lacks in size, she likes to make up for in sound, loving the "really honky", grunty, big sound a baritone saxophone produces. It has been that way since she convinced her music teacher to dig out the saxophone from a storage cupboard at high school. Though when she first saw it, her reaction was "holy moly". "The baritone saxophone stands a metre high so it comes up to just above my belly button if I was to stand it on the ground, so when I play it takes up quite a lot of me." She was not deterred by its size or the fact most people learn saxophone on alto or tenor instruments first. "I played baritone sax through high school and the rest they say is history." Law discovered big band music when a music teacher, who played in a band, took her along to a rehearsal. "That was pretty much it. Something about the brass, something about the groove, usually the swing, that you can't just keep still listening to it. So when I'm playing, I can't keep still either." It sealed her fate — from then on she played in big bands, and she went on to study the saxophone at Victoria University in Wellington. After graduating, she wanted to travel and got a job playing in bands on cruise ships for the next four years. "I was playing in a 10-piece band then, it's a cut-down size one, but I was always the only female in the band." The band was mostly American and Canadian male musicians with the "Kiwi girl" on baritone saxophone. Back home in Christchurch, Law established a teaching career and began playing in different bands. One day, she and another female musician wondered if it would be possible to create a band of female musicians from Christchurch. "And ta-dah, we did." That was nearly 10 years ago. They rattled off a few names, sent out a few messages and in next to no time had volunteers for an 18-piece band made up of saxophones, trumpets, trombones and a rhythm section. "Next minute we had our first rehearsal, in January 2016." About 80% of the band are regulars from those first concerts, with other players coming and going depending on what is going on in their lives. "We have a base of probably about double the size of the band." Many of the members are music teachers in Christchurch, a lot are mothers and some are students. "It's just a really nice environment and full of very responsive female musicians and it's just a joy to work with them all." Due to their busy lives, they do not have a regular rehearsal schedule, instead coming together when they need to, often on a Sunday night. Keeping on point and doing what needs to be done is essential in those rehearsals. The band plays a variety of music and has put together a series of themed concerts over the years. Its first "themed" concert in 2016 was a tribute to Natalie Cole. For the band's first concert in Dunedin, it will perform "The Ages", which honours women who have changed music in the last 100 years. "It's kind of a historical journey through various female arrangers, composers and performers right through from the '30s up until now." Putting together the concert was a bit of a challenge as not all of the music had been arranged for big bands and some was hard to find. "We like to do our research and we like to see what is out there." One of the attractions of the band is that it plays different music to what Christchurch's other big bands play. "It's nice and refreshing. Some I grew up playing in when I was in high school and things like that. So it's nice to see the different styles that each band does. Each have their own niche." It has become so popular male musicians have wanted to join. "I'm like 'well, you're missing a few things'. And they're like, 'but we can put on a wig, we can wear a skirt'." Big bands also enable musicians of all skill levels to take part. "Players who like playing in a group situation, you've got five saxophones, four trumpets, four trombones, so you might not be a flashy trumpet player, for instance, but you can help your section by being a strong third or fourth player, and that goes for any of the instruments." Law leads the band from the alto saxophone as it is easier, leaving the baritone saxophone to another musician, although they reckon she still selects music with some "really cool bari lines it it". Overall, audiences enjoy listening to the band and watching them as they interact with each other as they play. "We've had so much fun and we make such a great sound. It's just a good time but we make sure the music's good because it has to be." The band is not a quiet bunch. "You know if someone does a great solo or there's a line that happens and it sounds really good, you're like 'yeah' and everyone will go 'yeah'." One expects a big sound to come out of a "big band", but there is also a range of dynamics a band can express. "To take you on that emotional journey through the tune so you can feel all the feels in one tune." There are a couple of tunes that give Law "goosebumps" when the band plays them — (You Make Me Feel Like) A Natural Woman and Here's to Life . "Those two tunes are ballads, right, so they're kind of slowish but very expressive, whereas we've got other tunes like Let the Good Times Roll , really punchy tunes. So they'll still have the dynamics." Her day job is as an itinerant and private music teacher. So she gigs in the evenings and at weekends. "It's nice to do something that you enjoy, it's something fun that I get to do all day, every day." She also squeezes in two school big bands, which she is taking to Blenheim for the Southern Jam Festival in August, and she is music director of the Christchurch Youth Jazz Orchestra, which plays in the big band festival at Labour Weekend. While down in Dunedin, she will be adjudicating the Dunedin Youth Jazz Festival. It is a role she enjoys, having co-adjudicated the National Youth Jazz Competition alongside the late Rodger Fox. But one of her top priorities while in Dunedin will be to get a photo of the band in front of the railway station. "That's a must-do, isn't it?" TO SEE All Girl Big Band, "The Ages Show", Hanover Hall, Dunedin, July 26, 7.30pm
NZ Herald
14-07-2025
- NZ Herald
Book of the day: Endling by Maria Reva
Endling author Maria Reva: 'Life gives you an opening, even during the most horrible times'. Photos / Supplied What do you do when you're a Ukrainian-born Canadian fiction writer deep into the composition of your first novel, which is set in your homeland and written in the absurdist, dark comedic tradition of Kundera, Kafka and Hašek, when Russia suddenly invades your home country, your relatives start fleeing to safety while bombs explode all around them, and your beloved grandfather refuses to leave Kherson, which is being eviscerated in real time? How can you keep on writing imaginatively when atrocities are being perpetrated against innocents in your homeland? Can you keep on living as before, when your reality has dramatically split in two? Such was the dilemma facing Maria Reva while working on Endling. At first, she was seized by panic and debilitating self-questioning. She stopped writing the novel; fiction seemed a folly during times of existential crisis. The only way she could conceive of completing the novel was to fold all those questions into the trajectory of the plot. She did that by breaking the fourth wall: inserting herself as a character narrating her own experience of stopping writing the novel to travel through her war-torn homeland. What began as fiction ended in nonfiction, making Endling neither a work of magical realism nor auto-fiction or memoir, but an original piece encapsulating elements of all three forms. Though written in four parts, the book is riven in two by Russia's very real invasion of Ukraine. The first fictional story is the cinematic unfolding of a complex metaphorical plot, which suddenly concludes by something like the running of credits at the end of a movie. The second section is marked by Reva actually entering the novel to recount her experience of viewing the horrors of wartime and retracing her failed efforts to encourage her grandfather to leave Kherson. But somehow the fictional plot is not left behind, and is woven into the war narrative. What results is a braided tale of extinction, survival and love, concluding in the resurrection of hope. If this sounds like an unattainable ambition, it might just be, but what must be admired is Reva's determination to finish the novel as an act of both desperation and renewal. So what is the plot? And what exactly is an endling? The story revolves around three Ukrainian women, Yeva, Nastia and Solomiya, who meet working for a romance tour company, Romeo Meets Yulia, which brings eager bachelors to Ukraine in search of 'docile' Eastern European wives untainted by feminism. In truth, Yeva is a maverick scientist, a malacologist, who scours Ukraine's forests and valleys in her mobile RV laboratory, collecting, cultivating and nurturing snail endlings – the last existing specimens of a species – in the hope of keeping their lines alive. Why snails? Because 'gastropods have evolved to live anywhere on the planet … have gills to live on water, or have lungs to live on land … can survive extreme temperatures, unsuitable for human life … and possess both male and female parts and reproduce solo'. Yeva believes herself to be an endling; she has no desire to marry or reproduce, despite familial pressure to do so. In fact, she has procured a canister of hydrogen cyanide to see herself out when the time is right, as well as a bridal dress to be buried in. Working as an eligible 'docile' bride is lucrative, and her earnings are funding her scientific experimentation because government grants have run dry. The other two protagonists, beautiful Nastia and her sister Solomiya, who are also entangled in the booming marriage industry, posing as a hopeful bride and her translator while secretly searching for their missing mother, who vanished after years of fierce activism against the romance tours. Their mother is renowned for organising guerrilla theatre protests, not unlike the members of Russian radical pop band Pussy Riot. The sisters are concocting a huge public political act, mimicking their mother's exploits, in the hope that global attention will bring her out of hiding. The sisters know about Yeva's RV, and are hoping she will allow them to use it, because their grand plan is to kidnap a group of bachelors under the ruse of taking them to a special event where they will finally meet the women of their dreams. That kidnapping, they believe, will expose the exploitation of Ukrainian girls and women and bring universal attention to their plight. The women plot and persevere. Luring the bachelors into their RV along with Lefty, a last-of-his-kind snail with one final shot at perpetuating his species, they are on their way. But on the road, they hear what they believe to be fireworks and soon learn Ukraine has been invaded by Russia. Rather than driving away from the fierce fighting, they move towards it in search of Lefty's last living mate. At this point in the fictional narrative, the curtain falls, the imagined tale is over, credits roll and the author offers her thanks to all those who have helped her publish this fiction. Then the second part begins and the reality of war sets in. Maria has entered Ukraine and is narrating her journey to save her grandfather, but the three women are still on the road, kidnapped bachelors in tow, in search of a snail. This non-fictional fiction I found gripping but confusing, and also a bit of a slog. Like the RV going off-road, the story veered into allusive and metaphorical tangents filled with elegant explanations of snail copulation and gruesome depictions of slaughter. But like the kidnapped bachelors, I often felt like I was being driven through a void in the dark, not knowing where I or the plot was going. In the end, I admired the novel's intelligence, dark humour and ambition, as well as the author's stated belief that 'life gives you an opening, even during the most horrible times'. For in our worst moments, stories, real or imagined, remain, so we never forget and never lose hope.
