Every now and then I'll (I mean ...Crude ) receive(s) a little attention from the world of music journalism and cultural heritage archivists. An interview here and there can really bolster morale - its a validation - it's evidence that what one does is not only out there (in new zealand in the main)(inside hard drives), it is deemed good enough to be acquired and archived and written about. People have penned articles - like Jonathon Bywater and his Listener article, Shayne Carter covered Crude in Real Groove and portrayed me as a very underground kiwi artist perhaps overlooked and under-appreciated, and the Hocken Library and the National Library have over the years acquired many Crude titles, some of them incredibly rare cassette editions that i don't even own any more. All the old lathe 7"s are down at the Hocken, as well as the first ever Crude cassette 'The World is so you Have Something to stand on'. Last month I was fortunate enough to be interviewed for an 'Oral History' project - whereby my life story as an artist, or whatever, was discussed, in my interviewers words it was a project that hoped to paint a picture of the artist as a human being. Whether I acheived that aim I'm not sure yet! I want to thank those who nominated me for this esteemed project - even if I only had the oppurtunity thanks to the veritable kaumatua of the lo-fi scene, Alastair Galbraith , turned the job down. I can think of se veral other senior figures who may have been more deserving of a place in this - people like Peter Gutteridge, George Henderson (you would need a huge amount of hard disk space for his story im sure) or , I dunnow - Celia Mancini maybe?? But yeah. I hope the transcript, which gets stored away up in Wellington, is eludcidating and assists with that future thesis on CRUDE. Yeah, maybe. Might just disappear.