Hugh Lynn – New Zealand

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25 June 2009

Pondok Gede

Jakarta – Indonesia

Story 1

by Hugh Lynn

This is my first story for my blog.

In the beginning I didn’t want to get involved in extra effort of supporting the blog.

It all seemed like hard work to me, considering that my typing, if you can call it that, five words a minute wasn’t going to get me very far. At the moment I’ve got my 12 year old son Rafael typing this letter. He’s much faster that I am.

Rafael

The idea of this blog originated from my brother in law, Riza, who ended up with us in Turangnanui a Kiwa (Gisborne) for nine months, to improve his English and hang out with the Maori and Continue reading ‘Story 1′

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FOR THE RECORD – Published by David Bateman Ltd,2002 -

Maui and Warrior

Promoter Hugh Lynn and singer Larry Morris purchased Mascot studios after the death of engineer Bruce Barton. Mascot had released the odd disc over the years: Barton had engineered a disc released on Europe and Morris had recorded for independents Moon and Gemini. Hugh Lynn saw a niche in the recording industry where he could focus his attention: a Maori renaissance was beginning to rumble, more attention was being paid on the stage to influences other than American music, and there was no reason why Maori couldn’t take their place in rock and roll. Lynn allowed interested parties to use his studios to set up camp, eat and record; with arrangements for remuneration made between the brothers.The most commercial record to come out of this arrangement was put together by Dalvanius Prime. In 1982, a round of concept singles hit the market. Studios would take a group’s hits and re-record them as a medley tagged with the phrase ‘on forty-five. ‘Thus we had Beach boys on 45,Hollies on 45 – and here in New Zealand on RCA,Terence O’Neill-Joyce produced Maoris on 45, a medley ot Maori tunes played by the Consorts with the publishing attributed to K-Tel. The Consorts themselves and the musical arrangements were the creation of Dalvanius Prime, who used the record as a stepping-stone to another single, this time on Huhg Lynn’s Maui label and entitled Poi E. The disc was recorded by a choir from Prime’s home town, the Patea Maori group, accompanied by the disco sounds in vogue at the time-Linn drums and synthesizers.Reviews were mixed for this combination of Maori chanting riding on a disco beat, but in February 1984 the song made number one. With writer Ngoi Pewhairangi, Dalvanius recorded a larger work-almost a Maori pera – toure successfully through Europe, once again with the Patea Maori concert party. Meantime back at Mascot studios, a Maori/Polynesian/reggae band named Herbs was releasing successful singles and albums on their own record label – Warrior. Herbs’ songs of gentle protest about Continue reading ‘For The Record -Promotor Hugh Lynn-’

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Police File – Auckland Star,Thursday,March 1,1984

British band The Police were the center of attention last night at Auckland’s Western Springs Stadium where they toped a bill of our bands and brought six hour of rock music to

a climax in front of a crowd of around 40.000.

After sets by Auckland’s Coconut Rough, Canada’s Bryan Adams and Australian Crawl, The Police took the stage with singer/ bassist/resident sex symbol Sting center front for more

than 100 munites of hits, past and present.

The crowd loved it. Meantime, outside another band of fans did not let a fence, a lack of tickets or the police (the other sort) stand between them and the music.

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Dancing With Delaight by Cherie Devliotis - published 2005 -

As with Doreen O’Leary, Da Katipa’s name, sometimes shown as Dorothy,is to be found all over this book.She wanted to dance day and night – that’s dancing herself,teaching, and auditioning for every show on in town with the wish to be chosen as one of the dancing girls.

Sandra Coney, (1993) has written about Da. She was born in 1920. When only.11 yearss of age and in the pantomime Cinderella, she was able to send one pound a week home to her family bearing out her grand mother’s hope that in the young Dorothy there could be the making of family provider. In the first exams held in New Zealand in 1935, Da was the only one in her class to pass.

She was seen in floorshows at the Peter Pan.The Auckland Star shows that in November 1946 Dar and Geraldo were exhibition dancers. Her credentials in 1957 were: R.A.D. Advanced, London (1939); F.A.T.D.(Ass.AustI.B.B.;F.A.T.D.(Elem.Com.Theatrical);Member NZAP and D;holder Teachers and Judges Certicate.

She was awarded the Commemorative Medal for services to New Zealand the field of dance in 1990. Continue reading ‘DANCING WITH DELIGHT -Da Katipa-’

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BURNING UP THE YEARS 2 HUGH LYNN by MURRAY CAMMICK- REAL GROOVE’ AUGUST 2000

The most memorable figure in the local music business in the 1980s was concert promoter Hugh Lynn, he was the master of the mega – sized Western Springs Concert event, with over 82,000 people attending David Bowie’s 1983 Serious Moonlight Tour concert. In the same decade that Lynn had his biggest concert successes, he also set out to explore his being Maori, and as manager of Herbs he sought to take contemporary Maori music to the world. But by the end of the decade, Lynn’s 20 years of drug-fuelled, obsessive energy seemed to falter and Lynn seemed resigned to the collapse of his entertainment empire.

Hugh Lynn, who spent the 60s, the 70s and the 80s in the music business achieving the perception of being a ‘memorable figure’, now prefers the perception of the spiritual to the perception of the outwardly memorable. But ‘image’ waseverything to the young Hugh Lynn, his dance teaching mother and his own achievements in ballet and Latin American dancing (sixth in theworld in 1964) didn’t make being a teen male easy.

“I got schtick from guys at school through being a ballet dancer. I got harassed at school every day, it got so bad I had to wear army boots for the last three years just to try and protect myself.”

Just in case anybody had any doubts asto his manliness, Lynn got into martial arts, bodybuilding and motorbikes. At 16 he had a 125cc James two-stroke.

“The first group I rode with was the ‘Mt Roskill Ghosts’. I was a dancer but I could dress up, put on these clothes and everybody would treat me differently. That’s when I met two of the first Hell’s Angels, when they first came out to New Zealand. That’s when my mother sent me over to Australia, or otherwise I probably would have become a patched member.”

After six months on a sheep station in Australia, Lynn returned to Auckland and began working at Continue reading ‘BURNING UP THE YEARS 2 HUGH LYNN – Hugh Lynn’

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