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WELCOME TO RIP IT UP For 35 years Rip It Up has delivered the very best in local and international music, film, entertainment and gaming content.!The award-winning magazine is New Zealand’s most read, original music publication with over 90, 000 readers per issue. Pop culture is our purpose and our passion, from hip hop to metal, books to DVDs, games to memes. We go beyond traditional print media and have dug our heels deep into established online and social media, including a dedicated Youtube channel, Facebook, Twitter, and our successful website, where our monthly reach numbers in the tens of thousands. As part of the award-winning multi-media company Satellite Media, Rip It Up have always been early adopters of technology and can be relied on to find unique and modern solutions to suit our clients.

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MAGAZINE CONTENTRip It Up gives you exclusive access to the biggest stars of the!music and film!worlds, as well as introducing readers to fresh new talent handpicked by the tastemakers on the team. Each issue includes features, music, film, DVD, book and game reviews, live photos, prizes and our!outstanding stable of featured columnists.

EDITORIAL INTEGRITYRip It Up boasts a stable of the very best music journalists, columnists and reviewers in the NZ and overseas. For over 34 years Rip It Up’s integrity has set it apart from its competitors as a source for credible and authoritative music journalism in New Zealand. A small sample of our current writers include TV3’s‚ David Farrier and Dan Rutledge, hip-hop authority DJ Sir-vere, outspoken singer/songwriter Anika Moa, Rip It Up founder Murray Cammick, The Edge radio personality Sharyn Wakefield, and well respected music journalists (UK based) Des Sampson, Martyn Pepperell, Helene Ravlich and Barney MacDonald.

52 53Rip It Up August/September ‘09

He may be one of the biggest stars in Hollywood, but Brad Pitt doesn’t take fame or fortune too seriously. That’s

because, as he reveals to Rip It Up in Cannes, stardom is the least of his concerns. With blockbusters like Troy,

Mr. & Mrs. Smith and the Ocean’s Eleven, Twelve and Thirteen series, not to mention acclaimed performances

in 12 Monkeys, Babel and The Curious Case Of Benjamin Button, Brad Pitt is one of the film world’s foremost stars.

He’s also one of its biggest sex symbols, regularly topping ‘Hottest Hunk’ and ‘Sexiest Man Alive’ polls - and, with

Angelina Jolie, he’s one half of Brangelina, the most celebrated couple in planet Hollywood.

By Des Sampson

So, when he rolls into a hotel suite at the Palais to chat about his latest movie, Inglourious Basterds, it’s refreshing to find that, after a late night schmoozing at the film’s premiere, Pitt isn’t the buff, bright-eyed Adonis you’d expect. Instead he’s bleary-eyed, badly hungover and noticeably worse for wear. In fact, he appears to still be drunk.

“Yeah, it was bit of a late night, so I’m moving a little slowly this morning,” he mumbles in his distinctive Missouri drawl. “I’m just going to grab myself a coffee, because I’m struggling right now. Anybody else want one?”

For the usually impeccably groomed, larger than life Hollywood superstar, it’s a rare glimpse at the man behind the myth, the person rather than the persona. Here’s the real William Bradley Pitt - not the celebrity caricature projected onto the big screen, beamed into our homes or splashed across the pages of tabloid rags in a haze of hype and hoopla.

“Really, I don’t have anything to do with this image thing or what people say about me,” shrugs Pitt, easing himself into his seat gingerly. “When I was young

I used to be concerned about it, about people seeing me as a sex object and not as a serious actor. It just felt like such an injustice. I used to take it really personally, especially when people would make up ridiculous stories about me. But these days I’ve pretty much given up worrying about all of that,” he yawns. “It’s a losing battle that takes up too much time and gets in the way. Now I just do whatever interests me at the time and hopefully it’ll keep me honest.”

Despite his protests, Pitt’s a pragmatist and recognises that if it weren’t for the way he looks - or his arresting, shirtless scene in Thelma & Louise - he probably wouldn’t have risen to where he is now, nor been offered the roles he has - at least initially.

“Yeah, I’ve been very lucky because [acting] is almost a lottery,” he concurs. “There are loads of good actors who are doing great work and, pound for pound, are as good as anyone else, but some will never make it. So the fact that you get a break - that you get to enter the ring - is a big deal. But staying in there is a whole different thing. I don’t know why I’ve been singled out for attention, it’s a question I can’t answer, but it’s something I do appreciate. Even so, what was it Picasso

said? ‘Fame is a beast - I wouldn’t wish it on my worst enemy’. I agree with that to an extent.”

Pitt’s turned the tables on fame though. Not only has he used it to nab the best parts going and produce a clutch of acclaimed films, he’s also capitalised on his celebrity to highlight the plight of refugees, promote the charities he sponsors and, most notably, set up the Make It Right Foundation with Jolie - a scheme to build 150 eco-friendly homes in New Orleans for the survivors of Hurricane Katrina, all paid for by the couple to the tune of NZ$9 million.

“By the end of the year we’ll have a hundred homes built and they’ll be the greenest, most intelligently designed neighbourhoods in the United States,” Pitt reveals excitedly. “We already have families coming in who’ve got electricity bills that are just $10-12 [per month]. That’s a big deal - that’s life changing - when you’re a low income family. It’s also a big deal because it proves the technology we’re using really works. It’s amazing - it’s far exceeded my expectations and everyone else’s involved with it.”

It’s evident that Pitt, a huge fan of architecture, derives immense personal satisfaction from the project. Partly, he explains, it’s because it’s offered him an escape from the celebrity circus he inhabits, but also it’s given him the chance to branch out from acting - which he’d become disillusioned with, until he met Quentin Tarantino to discuss filming Inglourious Basterds.

“He really reinvigorated my interest in film, because he made me think about it in different ways,” Pitt enthuses. “It’s like we’d be filming and, right in the middle of shooting, he’d yell ‘cut’ and adjust the scene - even though there was really good stuff happening - because he could feel it wasn’t playing right. Now, I’ve worked with some great directors but I haven’t seen anyone who’s been able do that before. Quentin’s just a unique talent and it was a privilege to work alongside him.” He adds, smiling, “I loved just sitting and listening to him talk, because he’s so knowledgeable about film: it’s like a religion to him.”

Apart from Tarantino’s genius, Pitt admits it was Inglourious Basterds’ offbeat, unorthodox take on World War II, and war films in general, which also appealed. He particularly enjoyed portraying Lieutenant Aldo Raine, the psychopathic ringleader of a bunch of reprobates whose mission is to drop behind enemy lines and exterminate as many Nazis as possible.

“Yeah, I like a bit of extreme. I’m always looking to push in different directions,” he grins. “With this movie, I liked the fact that [Raine]’s a psychopath and has this strong code of justice, where if you cross the line, then all bets are off.”

It’s a role that’s reminiscent of some of the grittier parts he’s played, in between the blockbusters. Films like Kalifornia, Snatch, Fight Club and, most recently, The Cohen Brothers’ Burn After Reading.

“In a way, you have to keep upping

the ante,” Pitt insists. “But it’s not easy, because getting to play these roles is kind of incumbent on what’s available and what comes your way. So, even though I can pretty much pick what I’d like to do, I’m also dependent on what’s around and what I’m right for, because there aren’t that many good roles and some that just don’t work for me.”

The dearth of good films and suitable roles is partly why Pitt established his own production company, Plan B Entertainment. Since it’s inception in 2002, it’s released a succession of noteworthy movies, including The Assassination Of Jesse James By The Coward Robert Ford and The Departed, which won an academy award for Best Picture in 2007.

“I don’t really need Plan B, because I do have the luxury of being able to choose what [films] I want to do, but it’s just nice to be on the story end,” clarifies Pitt. “It’s a behind the scenes commitment, where we can develop some really beautiful films, like A Mighty Heart or The Time Traveler’s Wife. It’s one of the things I’m most content with, working on things we’ve developed. I like that input and seeing things through from start to finish.”

Having previously toyed with filmmaking, did he offer any suggestions to Tarantino while shooting Inglourious Basterds, or improvise much on set?

“Not really, no, because the script was so good. It was so well written that, like [with] the Cohen brothers, it’s a mistake to go off track. If you do, you’re gonna stall the thing,” he surmises. “Also, when you get into a Tarantino film, he has all the back story lined up for you, it’s all teed off and well thought out, so you know exactly who you are and what you’re doing, so you don’t want to fuck with it.”

Understandable given Tarantino’s fearsome reputation. After all, he’s renowned for punishing any actors who fall asleep while filming - by taking photos of them with a giant dildo.

“Yeah, he does do that,” laughs Pitt. “When you’re on set, it’s a church and irreverence is not stood for because movies are gospel. So, if you fall asleep there’s a guy who comes along with a giant purple dildo and a digital camera and takes pictures of you. The next thing you know is you wake up and your photo’s on the wall of shame with a big purple cock in your face! That happened to me twice.”

The thought of Pitt with a big purple cock in his face is about as far removed from his image as a Hollywood pin up as you can get. So too is him turning up, possibly still drunk, to talk about his latest film. However, as with Inglourious Basterds, things aren’t always as they seem - or how you’d expect them to be. And that’s what makes both Pitt and his latest film so intriguing.

Inglourious Basterds is in cinemas from August 20. ¬

“The next thing you know is you wake up and your photo’s on the wall of shame with a big purple cock in your face!”

50 51Rip It Up December ‘09/January ‘10

Guitarist/vocalist Matt Bellamy auditioned for drummer Dominic Howard’s new band, and Chris Wolstenholme joined the fold soon after. Two decades and five mega-selling albums later, the Rotherham born bassist is the only member of the group to have not uprooted himself. Howard is based in London, while Bellamy divides his time between Teignmouth and Italy, where he lives by the shores of Lake Como with his long term girlfriend Gaia Polloni.

“I was very, very nervous,” Wolstenholme admits when I spoke with him just after the homecoming gigs. “It was a very proud moment. The last time we played there was in 1995 at a small pub that doesn’t even exist anymore. It was really exciting because it’s the first time that we’ve played our new songs out live or done a show in over a year. There were quite a few people there that we know and I recognised lots of faces in the crowd. It was very unusual.”

The normally sleepy town certainly didn’t know what hit it as thousands of ardent Muse fans descended upon it.

“It was quite a big show but in quite a small area,” says Wolstenholme. “It was very strange doing a gig in a place that I just generally walk around in. I was able to look around and see places like the Post Office that I go to. It was really weird seeing all of those things from onstage.”

It is no wonder that the band’s dedicated followers travelled from far and wide to witness Muse debuting their new material on their home patch. Their last album, 2006’s Black Holes And Revelations, elevated the band to the top tier of major headliners alongside the likes of U2 and Coldplay. The accompanying world tour that followed took in a date at Auckland’s Waitakere Stadium and culminated with two sold out shows in June 2007 at the recently renovated Wembley Stadium, which was decked out like a giant space station.

As captured for posterity on the live CD/DVD HAARP, the trio put on a memorable performance that concluded with two trapeze artists rising above Wembley’s iconic arches on giant balloons.

“With the size of the live shows, the last album definitely took us up to a new level in terms of playing live,” Chris reflects. “In most places we went to, if we’d played clubs on the previous album then we ended up playing arenas, and in the places where we played arenas we ended up playing

stadiums, so it was a nice shift up for us. And playing places like Wembley Stadium was a massive bonus as it’s such a historic place, especially for me as I’m a big football fan. It was great to be in a place where so many great things have happened.”

If that wasn’t elaborate enough, the stage set up for The Resistance’ stadium spectacular was even more eye-catching, taking its cue from the album’s futuristic dystopian themes. According to Bellamy it, “all

comes down to putting on good shows and having a good connection with the fans.”

However, Wolstenholme believes that sales of Black Holes And Revelations were inevitably affected by the advent of file sharing and downloading.

“It did better than our other albums but I’m not sure if it sold bucket loads more than them,” he says. “Record sales have become more and more irrelevant and it’s hard to know how many people have heard

your album. Whether it be a legal or illegal copy, it doesn’t really matter to me. I don’t care how many people listen to the music as long as they do.”

Creatively speaking, Black Holes and Revelations marked the band’s coming of age as they moved out of the shadow of formative inspirations such as Radiohead, whose influence had been so prominent on their previous albums. The likes of their 1999 debut Showbiz, its 2001 follow up Origin Of Symmetry and, especially, their 2003 third opus Absolution contain some

stellar tracks, most notably the propulsive double head rush of the latter’s ‘Stockholm Syndrome’ and ‘Time Is Running Out’. However, sometimes they veered too close to the bombastic and the overwrought, with the band’s exaggerated operatic moments seeming just a tad silly.

That all changed with Black Holes And Revelations, on which they embraced a more eclectic array of musical styles, ranging from spaghetti western themes and prog rock on the album’s spaced out closing track ‘Knights Of Cydonia’, to the joyous disco of ‘Starlight’. Suddenly everybody seemed to get Muse, but does The Resistance - which ventures even further into strange new sonic territory - represent a step too far?

“That’s what we’ve always done,” counters Wolstenholme. “We’ve always tried to go down different roads and to take things to even more extremes. On the last album, we had things like ‘Supermassive Black Hole’, which was hinting towards electronic areas, and on this album we’ve done ‘Undisclosed Desires’, on which we’ve really gone full on into electronica. It’s really an extension of what we’ve done before.”

Indeed, guitars are conspicuous by their almost total absence on several of The Resistance’ 12 tracks.

“There’s only so much you can do with them,” reasons Wolstenholme. “I still feel like we’re predominantly a guitar band. But

“In most places we went to, if we’d played clubs on the previous album then we ended up playing arenas, and

in the places where we played arenas

we ended up playing stadiums”

– Chris Wolstenholme –

They say that you should never go back. But that’s exactly what Muse did recently when they launched their new album,

The Resistance, with two special gigs in their hometown of Teignmouth, Devon. The trio grew up in the picturesque seaside spot on England’s southern coast, first meeting in

the early 1990s as students at Teignmouth Community and Coombeshead College.

By Stephen Jewell

SIMPLY THE BEST

46 47Rip It Up October/November ‘09

“You know, we’ve never really gotten

used to it - this whole thing of talking about

your music and promoting it. Even

now we’re much more comfortable playing music than talking

about it.”– Eddie Vedder –

In the mid 1980s, isolated by geography, history and ideology, Seattle’s music scene was an inbred hotbed of explosive acts - like Fastbacks, Green River, the U-Men and Malfunkshun - that were united by youthful exuberance, dogma and a passion for fusing metal, punk and indie together. Along with the Melvins, whose sludgy, slow mo guitars became synonymous with the then embryonic ‘Seattle sound’, these artists helped sculpt a completely new musical genre - one which was characterised by heavily distorted guitars, angst ridden lyrics and clashing song dynamics.

When local indie label Sub Pop stumbled upon the scene they dubbed it ‘grunge’. Seeing the potential, they snapped up a handful of promising local bands, including Nirvana, before popularising the scene by releasing Sub Pop 200 - a collection which showcased prominent hometown acts like Mudhoney, Tad, Soundgarden, Green River and Nirvana. When Soundgarden, Alice in Chains and Screaming Trees then signed major label record deals, Seattle’s claim to being the hippest place on the planet was simply reinforced.

It was only at the tail end of 1991 however, with the release of Nirvana’s sophomore album Nevermind and Pearl Jam’s debut collection Ten, that grunge finally escaped the confines of Seattle’s shores and became a global phenomenon. Principally this was due to videos for Nirvana’s ‘Smells Like Teen Spirit’ and Pearl Jam’s ‘Alive’ and ‘Jeremy’ being hijacked by MTV and aired continuously.

“It was crazy how fast it all happened,” recalls Pearl Jam’s Eddie Vedder. “I just remember touring Europe for a few weeks and when we got back everything had changed, because they’d played our videos, and Nirvana’s, on TV. All of a sudden our club shows, which we’d been booked to play for a couple of months, were now for four months and became these incredibly impacted and intense, ritualistic fire pits of music!”

“It was like riding a big wave. It felt like if you didn’t stay on that wave, or hold your breath for a really long time, you might not come up,” he adds, noticeably wincing at the memory. “It wasn’t something we were prepared for, or expected - especially after being around for such a long time with nothing much happening.”

If Pearl Jam’s sudden stardom surprised Vedder, it was an even greater shock to founding band members Stone Gossard and Jeff Ament. Although they’d enjoyed some success with Green River and Mother Love Bone prior to forming Pearl Jam with Vedder, guitarist Mike McCready and drummer Dave Krusen, they never envisaged the fanatical response awaiting Ten’s release.

With Nevermind knocking Michael Jackson’s Dangerous off the top spot in America and Ten becoming one of the most successful rock albums ever - it’s sold over 20 million copies worldwide - grunge swiftly

became one of the most popular, and profitable, forms of music around. Then, when Pearl Jam’s follow up album, Vs, sold nearly a million copies in its first week in America - more than all the other entries in the Billboard Top 10 combined - it forever changed the perception and positioning of alternative rock.

Suddenly every grunge inspired, Seattle based band was being courted by major labels; waves of A&R men, record execs, promoters and managers circled the city, like hungry wolves desperate to prey upon the next Pearl Jam or Nirvana. It triggered a second wave of grunge inspired acts, like Candlebox and Bush, eager to jump on the bandwagon and ape their heroes. The corporatisation and commercialisation of grunge followed, with the fashion industry charging premium prices for grunge inspired clothes and advertisers co-opting elements of grunge to peddle their products. It was an unwelcome development that Pearl Jam felt uncomfortable with.

“Everybody was making profit - profit they didn’t expect to make, because no one thought this would happen. Nobody thought it

would take off the way it did,” admits Vedder. “But when it did, it seemed like some people still weren’t happy with what they were given and wanted more. They wanted to exploit it. Our natural reaction was to say, ‘wait a minute, because if you’re exploiting this [then] you’re exploiting something deeper than just pop music’. It was kind of exploiting the inside of a human - a sensitive, vulnerable human. That didn’t feel right to us - it wasn’t right.”

For Vedder, the scene’s seismic shift was disheartening - especially as grunge’s origins had been so honest and humble. It was that purity that had convinced him to shift from San Diego to Seattle to join Pearl Jam in the first place. Consequently, he never imagined

such a commercial outcome for the fledgling movement he’d initially encountered.

“I’d been in a number of different, little bands - just writing songs, doing a lot of four track recording, working on stuff - so I’d been around music for years,” he explains. “But when I first went [to Seattle] I saw something different to anything I’d ever experienced before. I could feel a [sense of] community there and everyone was so supportive of each other. It felt special.

“When I met Stone and Jeff there was a drive - a level of professionalism - that was unlike anything I’d been used to. Maybe it was because they’d been on a label before, or because there was a slight bit of backing? Whatever it was, it matched well with where I was coming from and what I was coming for. I was there to just do good, honest work.

“With my earlier bands, I felt like I was the only one that had a sense of [wanting to] ‘make it real’, as opposed to writing songs which were just like whatever party tunes were going at the time. So, having a group that you could be real with - being able to [be real] - was a good vehicle for truth and writing about what’s inside [you].”

That platform provided Vedder with the security to compose a succession of songs like ‘Alive’, ‘Even Flow’ and ‘Once’, which were peppered with emotion, passion, honesty or fantasy, and addressed disturbing topics like depression, alienation, murder and suicide. In fact, Pearl Jam’s breakthrough single ‘Jeremy’ was based on a true story about a high school student who shot himself in front of his classmates. It’s an approach Vedder still adopts, with Pearl Jam’s lyrics swaying from introspective and personal to panoramic and political. Perhaps that’s part of their ongoing appeal?

“Yeah, maybe that is part of it, because we’ve always come from a pretty pure place, as opposed to the music that came out and was saturating the air waves in the decade before us,” he concurs. “You know, what you’d call ‘Californian poodle rockers!’ I can only really speak for ourselves, but I would guess, looking [back] at some of those other bands around then, like Nirvana, that their lyrical content - what [Kurt Cobain] was singing about - was real stuff too. It was the same with us. I think maybe [that’s why] we felt our music was organic and pure enough to want to keep it from being polluted.”

“You know, we’ve never really gotten used to it - this whole thing of talking about your music and promoting it. Even now we’re much more comfortable playing music than talking about it,” he confesses. “We were already finding it hard to cope, so when it all took off - got a little crazy - I can’t say [we were] frightened for our lives, but we were frightened for ourselves, our relationships and for the survival of the band.”

Accordingly, when Kurt Cobain committed suicide in April 1994, when he was just 27 and Nirvana were at the peak of their success, it horrified Pearl Jam and forced them to completely reappraise their priorities and the price of fame.

“Even though we were on parallel trains, I don’t profess to know much about him, or half of what he was going through,” admits Vedder. “But, after that, I think we just knew that we had to change things, because it had just been proven that [doing] this can be serious, it can ruin you. It became a little more real [to us]

With all their contemporaries either dead or defunct, Pearl Jam is the last great grunge

group remaining. So what’s the secret of their longevity? I caught up with their enigmatic

vocalist Eddie Vedder in London to find out. By Des Sampson

42 43Rip It Up February/March ‘10

Less than a year ago, Stefani Joanne Angelina Germanotta - as Lady Gaga was christened - was a sidekick

performing tricks in support of the Pussycat Dolls on their World Domination Tour, including their one-off extravaganza at Auckland’s Vector Arena. But ever since, her life - like her name - has gone gaga. In fact, in the last year, Lady Gaga has become one of the hottest stars on earth, her theatrical Monster Ball tour catapulting her centre stage, while the Pussycat Dolls - dogged by rumours of hissy fits and splits - have been left kicking their [kitten] heels on the sidelines.

With Kiwi audiences being among the first to embrace her charms, Lady Gaga’s been gagging to get back to New Zealand to shower us with her appreciation, and she’s promising that her shows in March will be a dazzling display of burlesque and barely-there costumes from her own fashion label,

Haus of Gaga. No doubt they’ll be spectacular events, based on past performances, and feature all her monster hits, like ‘Just Dance’, ‘Bad Romance’ and ‘Poker Face’ - the record breaking single that topped the charts in 20 countries, including the USA, the UK, Australia and New Zealand - where it lodged at number one for a mind-boggling 10 weeks.

“It’s insane that ‘Poker Face’ was number one in New Zealand for that long. It’s just incredible,” smiles Lady Gaga. “I was actually much more successful in New Zealand and Australia before America or Europe, so I loved being there, with the Pussycat Dolls, and playing for my fans.

“Usually, success happens the other way round - you get it in America and Europe first. But it kind of happened backwards for me, with New Zealand, Australia and Canada first - then America and Europe. That’s why I’ve wanted to come back there so bad, to see all my little Kiwis,” she says. “I’m going to be there soon, in just a few weeks.”

Although she’s enjoyed phenomenal success since her jaunt to New Zealand last year with hit singles, Grammy nominations, Best New Artist awards, and two chart-topping albums - The Fame and its darker sister EP The Fame Monster - Lady Gaga’s ascent to superstardom hasn’t been as straightforward, or meteoric as it appears. Instead, she’s spent years trying to scale pop’s summit.

It all started when she began playing piano, when she was four. At 13 she penned her first song, and by the time she was 15 was

regularly performing at open mic sessions in seedy New York bars. When she turned 17 she gained early admission to New York University’s prestigious Tisch School of the Arts and, just two years later, at 19, Lady Gaga got her first big break, picking up publishing deals with Def Jam and Sony Music.

“Yeah, people think I fell out of the sky to make pop music, when really I’ve been doing this since I was 13 years old, playing in clubs from 15 and just hustling the dance scene,” she shrugs. “I’ve worked hard and done it the way you’re supposed to do it - playing every club in New York and bombing at every club in New York. But I didn’t give up. I kept grinding it out for all those years, which made me who I am today. That’s what changed my style of writing and what I write about, because it helped me figure out who I was as a singer and performer.

“I think I ‘found’ myself, as an artist,

doing that - I got real. If I hadn’t done that, I wouldn’t have ended up where I am today,” she suggests. “I’ve always wanted to be a pop star, be an artist and bring pop music back. Now I am - now I have - it’s great.”

Initially, however, Lady Gaga had to curb her desire for superstardom, because her publishing deal meant composing songs for other artists, including New Kids on the Block, Fergie, the Pussycat Dolls and Britney Spears, who she wrote ‘Quicksand’ for.

“It was great writing for Britney, just having her sing my song,” she grins, still clearly ecstatic about working with one of her idols. “She heard the record, way before anyone even knew who I was, and just loved it for the music. That’s what was so exciting about it.

“But although I loved writing for those other people - it was definitely a lot of fun - I was only ever writing for them because I’m a good writer,” explains Lady Gaga. “Really, I always wanted to be my own artist. It wasn’t like I found my love of singing, or performing through songwriting. It was always there because, to be honest, I’ve always craved that attention.”

Her attention-seeking quest for fame saw her quit school and leave home to perform at sleazy, Lower East Side clubs, with bands like Mackin Pulsifer and SGB, before switching to burlesque and hooking up with performance artist Lady Starlight in 2007, who helped her create her scanty, onstage outfits.

Together they dreamt up an arresting

“I don’t think there’s one person on the planet that lives and dies for pop music

the way I do. I guess that’s maybe a presumptuous thing to say - that I

would die for music more than anyone else - but I am going to say it, because

I really do believe it.”

She called her debut collection The Fame and, ever since, Lady Gaga has been enjoying her share of the stuff. Now she’s returning to New Zealand to show off her fame, her fashion and her flair.By Des Sampson

Inglorious Basterds - Rip It Up Issue 330 Pearl Jam - Rip It Up Issue 331

Muse - Rip It Up Issue 332 Lady Gaga - Rip It Up Issue 333

MEDIA KIT

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

NIELSEN MEDIA RESEARCH SNAPSHOT 2010Nielsen Media Research are the benchmark research company by which all reputable media in New Zealand are measured. Other magazines may claim a readership number, however Rip It Up has the distinction of a legitimate current and increasing readership figure.

SPLIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60% Male / 40% Female

AGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 - 39+ years

CORE READERSHIP. . . . . . . . . . . . . . . . . . . . . . . . . .15 - 24 years

BI-MONTHLY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Issues per year

LIFESTAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mainly lifestage two (Young Independant Adults)

RIP IT UP READERS AGREE Music is important to them

They want to get to the top of their career

They have very busy social lives

They are lost without their mobile phones

They play a lot of sport

They like to enter competitions

They are attracted to new ideas

They like to keep up with the latest fashion

They enjoy shopping for clothing and personal items

They think not enough is being done about the enviroment

They would consider buying from the internet

They regularly buy pre-prepared meals

They like to dine out

They like to try di"erent types of foods

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ARCTIC MONKEYS EXCLUSIVE I WIN A TRIP TO LAGIN WIGMORE I NOFX I OPENSOULS I LA ROUX I WU-‐TANG

THE MOVIEISSUE

PITT TARANTINO

CANNES EXCLUSIVE

DENZEL WASHINGTONEMMA WATSONDANCE FLICK

LITTLE BOOTSSWEET & IRIE30H!3MINUITJACKSON TRIBUTEDAVID DALLASSHAPESHIFTER

WHO’S NEXT? I CASPA I GOOD LAIKA I HOCKEY I SKEPTA

250+PRIZES TO

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Rip It Up Issue 330*Nielsen Readership Survey Q4 2010 - Q4 2011

MEDIA KIT

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

SPONSORSHIP OPPORTUNITIESSHUTTERSPEED an exclusive photographic essay over 2 x DPS spreads taking a behind the scenes look at a video shoot, tour, album recording session or anything else that catches our eye. Totally unique.

LAND OF THE GOOD GROOVE Founding editor Murray Cammick writes about his recollection of pivotal points in Rip It Up history.

RIP IT UP LIVE each issue of Rip It Up we run photos and reviews of the best local and international gigs‚ its almost like you were in the crowd.

GAMES Exclusive interviews with game developers, and reviews of all the latest game releases.

PLUS DVD/FILM review sections

TWEETTALK They said what. Tweets from the famous and infamous‚ you can bet Kayne will be in there.

Tailored sponsorship packages are also available to suit your requirements.

84 85Rip It Up August/September ‘10

kids of 88Behind the scenes shots of Kids of 88 in June 2010, as they toured from Brisbane to Perth in Australia.Photos by Jordan Arts.

134 135Rip It Up October/November ‘10

RIP IT UP LIVERIP IT UP LIVE RIP IT UP LIVE

RHYTHM AND VINESWEDNESDAY 29TH TO FRIDAY 31ST DECEMBER

2010, WAIOHIKA ESTATE, GISBOURNE

GORILLAZ FEATURING DE LA SOUL AND LITTLE DRAGONTUESDAY 21ST DECEMBER 2010, VECTOR ARENA, AUCKLANDPhotography by Rimoni

Shutterspeed - Kids of 88 - Rip It Up Issue 336

Rip It Up Live - Rip It Up Issue 338

RATES DOUBLE PAGE SPREAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$7500 iNSIDE FRONT COVER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$4500OUTSIDE BACK COVER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$4500FULL PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$3600HALF PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$2100THIRD PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$1500 BANNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$800 INSERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$200 / POATIP-ONS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .POA

MEDIA KIT

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

MAGAZINE ADVERTISING SPECS

FULL PAGE Image Area: 240mm x 335mm Please add a 5mm bleed around all sides

THIRD PAGE VERTICAL Image Area: 80mm x 335mm Please add a 5mm bleed around all sides

DOUBLE PAGE SPREAD Image Area: 480mm x 335mm Please add a 5mm bleed around all sides

HALF PAGE VERTICAL Image Area: 120mm x 335mm Please add a 5mm bleed around all sides

HALF PAGE HORIZONTAL Image Area: 240mm x 167.5mm Please add a 5mm bleed around all sides

THIRD PAGE HORIZONTAL Image Area: 240mm x 104mm Please add a 5mm bleed around all sides

BANNER Image Area: 210mm x 71mm No Bleed

FILE SPECIFICATIONS

2012 DEADLINES

ADOBE PDF - Press Quality setting

- Images/raster graphics set to 300dpi minimum

- All fonts embedded

- Colours converted to CMYK (NO SPOT COLOURS)

- All printers marks (bleed, crop, registration)

- Please note we will not accept ti"s or jpegs

FILE DELIVERY Please send via PAGESTORE if you have the means to do so or if your file is less than 8mb please email the advert to: hannah@satellitemedia.co.nz

Hannah Clark Satellite Media, Level 1, 160 Ponsonby Rd (entrance o" Douglas Street), Ponsonby, Auckland. Any problems just phone 09 370 0337

NB: A 50% charge is applicable for cancellations received on week prior to booking deadline.

ISSUE DATE

FEBRUARY-MARCH 2012APRIL-MAY 2012JUNE-JULY 2012AUGUST-SEPTEMBER 2012OCTOBER-NOVEMBER 2012DECEMBER-JANUARY 2012

BOOKING

20 January 201218 March 201220 May 201215 July 201216 September 201218 November 2012

MATERIAL

25 January 2012 20 March 201222 May 2012 24 July 201225 September 201220 November 2012

ON STREET

6 February 2011 2 April 20124 June 20126 August 20128 October 20123 December 2012

ONLINE GUIDE

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

ONLINE GUIDE ripitup.co.nz is where Rip It Up magazine lives online, extending the content model of the print edition. Visitors can find teasers for magazine features plus heaps more exclusive continually updated content.

ripitup.co.nz takes full advantage of the interactive nature of the internet providing blogs, competitions, downloads, dynamic content, live streams, RSS feeds, users comments, video and utilising social networking sites such as Facebook and Twitter.

ONLINE GUIDE

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

CUSTOM ADVERTISING SPACES POP UP: Homepage takeover with option to play video.

PAGE PEAL: Corner expands.

PAGE PUSH DOWN: Homepage expanding header.

BACKGROUND: Homepage background or individual page backgrounds.

EXPANDING TILE AD: Tile advert can expand from 300x250 to 500x500 across the page.

SPONSORSHIP OPPORTUNITIESARTIST OF THE WEEK: Every week ripitup.co.nz focus’s on a prominent artist or band that is gathering hype within the music industry, including an album feature and give away.

WHO’S NEXT: This feature showcases an up in coming artist - allowing users to explore their background and listen to their music.

DOWNLOADS OF THE WEEK: This feature highlights the best free legal downloads on the internet.

SPECIFIC PROMOTIONS: Creative online promotions can be developed and tailored to suit any requirements.

ONLINE GUIDE

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

RATESITEM ONE PLACEMENT TWO PLACEMENT ONE WEEK $250 $300

TWO WEEKS $500 $600

THREE WEEKS $750 $900

ONE MONTH $800 $1000

TWO MONTHS $1500 $1800

THREE MONTHS $2000 $3000

SIX MONTHS $5000 $5250

ONE YEAR $7500 $8000

SOLUS NEWSLETTER $850

SECTION SPONSORSHIP POA Please note: All rates are excluding GST and are not agency comm. bearing. All online campaigns are inclusive of a banner insert in our newsletter within campaign duration. Please get in touch for volume discount packages and to discuss rates.

AUDIENCE ripitup.co.nz - all stats per month.

VISITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36.5kPAGE VIEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225kAVERAGE TIME ON SITE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4:30PAGES PER VISIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6.2NEW ZEALAND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83%AUSTRALIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9%AGES 13 TO 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10%AGES 18 TO 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73%OVER 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15%REGISTERED USERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20kNEWSLETTER SUBSCRIBERS . . . . . . . . . . . . . . . . . . . . . . . . . . . .12k

Further demographic breakdown available on request.

WEBSITE SPECIFICATIONS BANNER (LEADERBOARD). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .728 x 90TILE (MEDIUM RECTANGLE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300 x 250ACCEPTED FILE TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .gif, jpg, png, swfMAXIMUM FILE SIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40kb

Flash ads appear transparent by default. Creatives must be designed with a solid-colour object as a background to avoid unwanted colour conflicts with the displaying page.

back2basics Forumripitup.co.nz

ONLINE GUIDE

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

RIP IT UP NEWSLETTERThe Rip It Up newsletter is sent out fortnightly to over twelve thousand registered users. Each one contains a short paragraph from the Editor plus a selection of our latest news stories, competitions and reviews. There are three banner advertising spots available.

SOLUS NEWSLETTERSolus newsletter opportunities are also available. This involves your brand/product being the only feature item advertised in the newsletter. The editor writes a blog of recommendation, or an excerpt of his experience with the brand/band or product advertised, and the newsletter is designed in the same tone as our usual newsletters. All advert spots are exclusive to your brand.

NEWSLETTER SPECIFICATIONS NEWSLETTER BANNER AD. . . . . . . . . . . . . . . . . . . . .728px x 90pxACCEPTED FILE TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . jpg or gifSOLUS EDM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .577px x 800px

Note: Solus newsletters can vary in size depending on creative.

Rip It Up newsletter example Rip It Up Solus newsletter examples

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MEDIA KIT

RIPITUP.CO.NZNEW ZEALANDS NUMBER 1 MUSIC MAGAZINE

CONTACT US Here at Rip It Up we simply love music, movies and pop culture. It’s what gets us up in the morning and also keeps us up at night. It’s in our blood you see. So if there is anything we can do to help you or your brand we’d love to chat.

KEY CONTACTS NIKKI STREATER General Manager Ph: 021 678903 nikki@satellitemedia.co.nz

LEONIE HAYDEN Editor Ph: 09 370 0352 editor@ripitup.co.nz

HANNAH CLARK Sales Manager Ph: 09 370 0337 hannah@satellitemedia.co.nz

LUKE WINSLADE Online Editor Ph: 09 370 0345 luke@satellitemedia.co.nz

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BIG DAY OUT TICKETS I THE BEATLES™ ROCKBAND™

THE SPECIALSWOLFMOTHERMAJOR LAZERBLACK CROWESUK SUBS

WHO’S NEXT? I ISAAC AESILI I MURDERCHORD I TYSON TYLER

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GUEST EDITOR EDDIE VEDDER

DIZZEE RASCALTHE-‐DREAM

KIDZ IN SPACEDJ AM

CHUCK TAYLORS I RHYTHM AND VINES TICKETS

Rip It Up Issue 331