Dunedin: Watching the detectives

Comment received from Alex Brown
Submitted on 2014/12/23 at 11:41 am

A quote from a Vandervis email dated Friday 19 Dec at 11.54am is concerning:

“Even more concerning was Detective Preece’s assertion to me that ‘all those that had acquired DCC vehicles needed to do, was to say that they understood Mr Bachop had the authority to dispose of them’ for them not to be liable for receiving or criminal prosecution. Detective Preece said that all those he had interviewed who had acquired DCC vehicles had said just that.”

That is not all the “others” needed to do to explain away their part, particularly when Brent Bachop has been held solely accountable on the strength of no interview. Little credence is given to what suspects say or don’t say these days and that is why circumstantial and independent evidence carries far more weight.

Crimes Act section 246 – Receiving
(1) Everyone is guilty of receiving who receives any property stolen or obtained by any other imprisonable offence, knowing that property to have been stolen or so obtained, or being reckless as to whether or not the property had been stolen or so obtained.

It was never intended that “knowingly” and “recklessness” be simply explained away by a suspect, as suggested by Detective Preece. Other evidence can be far more compelling and he is not prevented from investigating it – the cheap price paid for the DCC cars, the number and frequency of transactions, outside normal business practices, the transactional documents, communication between the parties – or did Bachop communicate or implicate other persons to his closest friends or loved ones before he died. The fact that Vandervis raised the alarm within the organisation over 2 years and nothing was done tends to suggest the involvement of others.

The law states the crime of receiving is as serious as the crime of theft, but the criminal courts have long considered it more serious because without willing receivers (the black market) there would be no thieving.

[ends]

Tony Tuthill Uploaded on Nov 23, 2007
Elvis Costello – Watching the Detectives (song & lyrics)
Created with written permissions/agreements with: Universal Music Group.
The single, produced by Nick Lowe, was the first to be credited to ‘Elvis Costello & the Attractions’, reflecting the new backing band that he was using, previous releases being credited solely to the singer. The lead track was, in fact, recorded in May 1977, before the Attractions existed – the backing band on the song were Steve Goulding on drums and Andrew Bodnar on bass guitar, both from Graham Parker’s band, The Rumour. Keyboard overdubs were added later by Steve Nason (later better-known as Steve Nieve). It was also the first top 40 hit in the UK Singles Chart for Costello, reaching #15 and spending a total of eleven weeks in the chart.

Elvis Costello (b. 1954, London) is an English singer-songwriter. He began his career as part of London’s pub rock scene in the early 1970s and later became associated with the first wave of the British punk and new wave movement of the mid-to-late 1970s.

Posted by Elizabeth Kerr

3 Comments

Filed under Business, Citifleet, DCC, Democracy, Economics, Media, Name, New Zealand, People, Politics, Project management, Property, Site, What stadium

3 responses to “Dunedin: Watching the detectives

  1. Elizabeth

    █ Elvis Costello – Complete Discography at Wikipedia

    Watching The Detectives
    from My Aim Is True (1977 LP)
    Artist: Elvis Costello

    Nice girls not one with a defect,
    cellophane shrink-wrapped, so correct.
    Red dogs under illegal legs.
    She looks so good that he gets down and begs.

    She is watching the detectives.
    “ooh, he’s so cute!”
    She is watching the detectives
    when they shoot, shoot, shoot, shoot.
    They beat him up until the teardrops start,
    but he can’t be wounded ’cause he’s got no heart.

    Long shot of that jumping sign,
    Visible shivers running down my spine.
    Cut the baby taking off her clothes.
    Close-up of the sign that says, “We never close”
    You snatch a tune, you match a cigarette,
    She pulls the eyes out with a face like a magnet.
    I don’t know how much more of this I can take.
    She’s filing her nails while they’re dragging the lake.

    Chorus

    You think you’re alone until you realize you’re in it.
    Now fear is here to stay. Love is here for a visit.
    They call it instant justice when it’s past the legal limit.
    Someone’s scratching at the window. I wonder who is it?
    The detectives come to check if you belong to the parents
    who are ready to hear the worst about their daughter’s disappearance.
    Though it nearly took a miracle to get you to stay,
    it only took my little fingers to blow you away.

    Just like watching the detectives.
    Don’t get cute!”
    It’s just like watching the detectives.
    I get so angry when the teardrops start,
    but he can’t be wounded ’cause he’s got no heart.
    Watching the detectives.
    It’s just like watching the detectives.

    QuestionAuthority2 Published on Jul 7, 2013

    Elvis Costello 1983 Everyday I Write the Book
    Original official music video of Elvis Costello and The Attractions performing “Everyday I Write the Book” from the 1983 album “Punch the Clock”. The song peaked at 28 on the UK Singles Chart and was their first hit single in the United States, placing in the Billboard Top 40. The video is one of the most popular and best-known from the early MTV era. Footage of Costello and the band performing is mingled with footage showing celebrity lookalikes of Prince Charles and Lady Diana, Princess of Wales, with Charles doing household chores and Diana watching television. Throughout the video Charles attempts to impress Diana with numerous acrobatic and romantic gestures to which Diana just rolls her eyes and continues to watch the TV. The video also features the scene where Elvis Costello drops a pair of stone tablets that look like the Ten Commandments. Amazingly Elvis Costello wrote the song in roughly 10 minutes and it has appeared on nearly all of Costello’s greatest hits/compilations over the years. The song also appeared on the soundtrack album for “The Wedding Singer” in 1998.

    Everyday I Write The Book
    from Punch The Clock (1983 LP)
    Artist: Elvis Costello & the Attractions

    Don’t tell me you don’t know what love is
    When you’re old enough to know better
    When you find strange hands in your sweater
    When your dreamboat turns out to be a footnote
    I’m a man with a mission in two or three editions
    And I’m giving you a longing look
    Everyday, everyday, everyday I write the book

    Chapter One we didn’t really get along
    Chapter Two I think I fell in love with you
    You said you’d stand by me in the middle of Chapter Three
    But you were up to your old tricks in Chapters Four, Five and Six

    The way you walk
    The way you talk, and try to kiss me, and laugh
    In four or five paragraphs
    All your compliments and your cutting remarks
    Are captured here in my quotation marks

    Don’t tell me you don’t know the difference
    Between a lover and a fighter
    With my pen and my electric typewriter
    Even in a perfect world where everyone was equal
    I’d still own the film rights and be working on the sequel

  2. Elizabeth

    [unexpectedly at Dunedin – May 21, 2014] RIP

    MrFrais Uploaded on Nov 15, 2009

    Renée Fleming & Lou Reed = The Perfect Day
    Celebrating 20th years of the Velvet Revolution in Prague on 17 November 2009. Perfect Day, written by Lou Reed in 1972, originally featured on Transformer, Reed’s second post-Velvet Underground solo album. Its fame was given a boost in the 1990s when it was featured in the 1996 film Trainspotting, and after its release as a star-studded charity single in 1997. Reed re-recorded the song for his 2003 album The Raven. The original recording, like the rest of the Transformer album, was produced by David Bowie, with guitarist Mick Ronson providing the arrangement. The song has a sombre vocal delivery and slow, piano-based instrumental backing balancing tones of sweet nostalgia (“it’s such a perfect day, I’m glad I spent it with you”) with an undercurrent of menace (“you’re gonna reap just what you sow”). The line alludes to Galatians 6:7: “Be not deceived; God is not mocked: for whatsoever a man soweth, that shall he also reap.”

    Renée Fleming (b. 1959) is an American opera singer and soprano whose repertoire encompasses Richard Strauss, Mozart, Handel, bel canto, lieder, French opera and chansons, jazz and indie rock. Fleming has a full lyric soprano voice. She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English. She also speaks fluent German and French, along with limited Italian.

    Just a perfect day
    drink Sangria in the park
    And then later
    when it gets dark, we go home

    Just a perfect day
    feed animals in the zoo
    Then later
    a movie, too, and then home

    Oh, it’s such a perfect day
    I’m glad I spend it with you
    Oh, such a perfect day
    You just keep me hanging on
    You just keep me hanging on

    Just a perfect day
    problems all left alone
    Weekenders on our own
    it’s such fun

    Just a perfect day
    you made me forget myself
    I thought I was
    someone else, someone good

    Oh, it’s such a perfect day
    I’m glad I spent it with you
    Oh, such a perfect day
    You just keep me hanging on
    You just keep me hanging on

    You’re going to reap just what you sow
    You’re going to reap just what you sow
    You’re going to reap just what you sow
    You’re going to reap just what you sow

    The song’s lyrics are often considered to suggest simple, conventional romantic devotion, possibly alluding to Reed’s relationship with Bettye Kronstadt (soon to become his first wife) and Reed’s own conflicts with his sexuality, drug use, and ego. Some commentators have further seen the lyrical subtext as displaying Reed’s romanticized attitude towards a period of his own addiction to heroin; this popular understanding of the song as an ode to addiction led to its inclusion in the soundtrack for Trainspotting, a film about the lives of heroin users.

    In 1997 the track was showcased by the BBC in a lengthy corporate promotion of its diverse music coverage which was broadcast on BBC channels and in cinemas. It featured Lou Reed himself and other major artists in what the Financial Times described as “an astonishing line-up of world class performers”. In reference to the licence fee, the film ends with the message “Whatever your musical taste, it is catered for by BBC Radio and Television. This is only possible thanks to the unique way the BBC is paid for by you. BBC. You make it what it is.” This message appears over the repeated words “You’re going to reap just what you sow” which The Guardian described as “a none too subtle message: keep writing the cheque.” In response to accusations from commercial competitors that the corporation had wasted vast sums on the film it was revealed that each artist received a “token” £250 because of their belief in the BBC. Prompted by a huge public demand the track was released in October as a charity single for Children in Need, and Lou Reed said “I have never been more impressed with a performance of one of my songs.” It was the UK’s number one single for three weeks, in two separate spells. Selling over a million copies, the record contributed £2,125,000 to the charity’s highest fundraising total in six years. The release featured two additional versions of the song: one entirely sung by female performers, one by male performers. The BBC also produced a Christmas version of the accompanying music video.

    bradleybacon Uploaded on Feb 20, 2008
    Perfect Day – BBC promotion

  3. Cars

    One of the problems with the police investigating those who received stolen cars from Bachop et al, is they may uncover one of their own, formerly a rugby coach. This will be a path that neither the DCC nor the police wish to tread for their own reasons.

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