Oh well, I recently found out that the majority of the funding gets decided by commercial radio station (the rock, channel z) programme managers. Apparently they don't even consider anything over 4.30 minuten as part of their playlist. Lame lame muthafuckers. But the story goes that they get played the songs, and the ones that they would playlist get funding. HOW TYPICALLY SHORTSIGHTED. Go NZ Arts Funding, and the constant celebration of mediocrity!
it did in the seventies...and on that note when sgt pepper was released some of the rock stations in the us played thw whole album for about a week!!! people loved it because it respects their ability to experience something as opposed to just being fed background garbage
fair enough - some major label artists got funded. but what about the 19 indie acts that got video funding? compared to the 5 major acts? 4 of the 5 radio hits funding grants went to indie acts. Another 11 grants for new recordings by indies.
Amongst the video grants you've got SJD, Baitercell, The Acclerants, The Fanatics and the Heavy Jones Trio (to name the acts I think are a step above the usual commercial fodder that fills the airwaves). There is, admittedly, some old-school commercial rock pap, but that's part and parcel of arts funding - you'll never please everyone all the time.
talking with a mate over a couple of slippery nipples last night and we started discussing this,
he was complaining that New Zealand has done so poorly at the Olympics and that we should quit wasting money on the music and instead focus more of it in the direction of sport, citing the Australians as an example,
but I was like "hell no brother!",
even though half of these videos only get played a couple of times on TV doesn't mean they aren't worth the $5000 to make them, and even if alot of these tracks which get grants have already received radio play, it's still worth $5000 to rerecord them so we can hear a better version! I think this kind of thing is a really important use for tax payers money.
It's not like $5000 is going to pay for a hospital operation or anything, it's just 5 grand and i think everyone in this country is easily rich enough that noone's gonna miss another $140, thou a year, that's only as much as a politician costs to maintain, and I reckon these vids are a much better investment than politicians.
I think these grants are an important investment for our country, before them we had nothing, just crap like Split Enz, Dave Dobbyn and the Dance Exponents hitting the airwaves,
now we have a whole lot of really cool successful music that's going world wide man,
like Scribe, Zed, Pacifier, Daniel Beddingfield, Hayley Westenra, etc
the list of quality New Zealand acts now making it, is endless and i even reckon that a lot of these New Zealand acts are even more successful overseas than we a led to believe at home. So there is no question that spending this money on music will give New Zealand a far higher profile than a couple more Olympic medals.
Sorry but... what kind of an ignorant butt fuck would call Split Enz and Dave Dobbyn as crap? Not exactly my faveourite stuff, to be honest, apart from the occasional number, but without a doubt CLASS CLASS (not to mention classic) NZ acts.
I recently read a review of FRANZ FERDINAND in popular UK music mag UNCUT, and it namechecked 2 bands that FF sound like (or have similar energy to) those were TALKING HEADS and, you guessed it, not, SPLIT ENZ.
OH MY GOD, I only now finished reading the entire ridiculousness of that post. Zed, Danel Beddingfield and Hayley Westernra hey? Usually follow my Gary Barlow records... Umm, also, having just been to Italy, Switzerland, Czech, Poland, England, Indonesia, most excitingly Australia, I can assure you that, unfortunately, no. NZ music is not making the kind of splash we would all be hoping for it to be.
Although, I did see THE MINT CHICKSes 7 incher at ROUGH TRADE in London, and in a cool record store in Bristol (which is a very nice, wellingtony sort of a town actually). It was displayed on the wall behind the counter in the place usually reserved for the cool shit in both shops too. I found NONE (thats: zip zero nada nothing nyet nien nicht !) nz stuff in rough trades NZ/OZ section. Just a pile of OZ shit I had never heard of.
Hayley Westernra is known in the UK. I'm sure thats really turning people onto Kiwi music. "It's as cool as an 11 year old singing pseudo-opera!" Could be the catch phrase. Daniel Beddingfield is big too, but he didn't make his career in NZ did he? And anyway, he fucking sux. The Datsuns, though are actually quite big in the UK, being darlings of NME et al, and their album was up at HMV's around the place as a current big hitter.
In OZ though, i saw multiple rows of Scribe CD's at all the major record stores, and big ads for GoodShirt's new one. Also saw copies of Phoenix Foundation in a nce wee place in Fremantle of all places (chuffed).
Look, the thing is, I want NZ music to be making it large just like you do so don't get me wrong. I ain't no negative creep, just telling yous tha truth like I saws it. But never mind, theres always next year, and album number 2...
Keep the faith, live the dream, be yourself, no compromise EVER!
Blinkus, as far as that post goes, I agree: ha ha ha
and as far as the ENZ goes, the holy trinity Waiata [corroboree],time and tide and true colours,
they bring me home everytime.
there must be very few people in this country with their head further up their ass than Brendan Smythe,
very few people,
very few people indeed,
very very few people....
come on Smythe you numbskull, stop being a ding bat, throw some money at the Foundation,
acknowledge that your notion of 'viable' is tenuous at best and actually support some quality for a change. Maybe when you get old and shrink wrapped you might be able to take some heart in that fact that you threw a tiny percentage of your fellow countrymen's hard earned money at something of lasting quality, 'cos when you hit retirement age Brendy, noone's gonna be giving you a celebratory speech and a gold Olympic, for forking over a barrow load cash for a K-Lee vid, that ain't gonna happen sonny. cos that music's got no heart.
// there must be very few people in this country with their head further up their ass than Brendan Smythe,
if you a serious though with this post, then you are the ignorant buttfuck. The desicions for funding come from reccomendations from program directors as to what they would play. If a song doens't get funding it is because no radio programmer wants to take the risk and play it. It is NOT a case of Brendan sitting in his office deciding which bands to give money to. The desicion is not in his hands.
You can bitch NZOA all you like, but at the end of the day, the fault lies with the programme directors of commercial radio stations, and since this IS about commercial radio and NOT student radio, we just have to take it up the ass.
Give brendan a break and start bitching about the PDs of The Rock , ZM, The Edge etc..etc..
yeah I suspect we're not too far off the same page, really. I've always defended the people that get attacked personally on this site. For better or worse.
I don't really know about that letter stuff - you may well be right. I'm just not sure this site functions all that well as a hanging tree? Does that make common sense? I hope so.
I mean why is it ok for members of this site to abuse musicians everyday, and yet not to criticise a guy who is earning far more than most of them to make or break their careers...what is with that?
yeah, makes perfect sense, and that last post i wrote reeks and i'll gladly farewell well it if possible...to be honest i never usually read the names of who wins the NZOA, but I only just figured out that the Phoenix foundation never received a grant which 1 is quite astounding considering the talent they have and profile they've already garnered for themselves, 2 the fact that NZOA has refused to help them at all.
// and sure he's just doing a job, but if the only real job he's been allocated is to write and justify decisions that other people made, then I reckon they could find a better writer, 'cultural hero' if you will...it's not like some other goon couldn't doing Brendon's job just as adequately
that is a very nieve and offensive take on what brendan has done.
you raise some fairly standard points which have been raised many times over. Yeah, sure a fuckload of good bands haven't been given money, sure "a commercialy viable track" is just a track that has been thrashed 1000 times..
but basically, there was a very healthy underground music scene before NZOA, there continues to be a healthy undergorund scene still and there always will be. The Phoenix Foundation continue to be one of the finest bands in the land and good bands will alway slog on and do shit regardless. Bands that wait around for a handout gain no respect from me, or from many others i'm sure, bands doing it without the assistance of NZOA however, gain much respect.
NZOA is what it is, its not going to change its mandate, just let it go on its business and find battles worth fighting.
I think that in the best interests of NZOA it might be a good idea for them to publish the full list of applicants in order to make the process transparent. It might open them up to a bit more discussion, but at least it makes them accountable.
I'm a big fan of a dual grant scheme, where commercial acts are treated seperately from more "indie/arthouse" acts. I realise that NZOA's focus is on commercial radio, but I feel that some acts are getting passed by.
i dont think phoenix not getting any monies for videos has done them any harm.. thanks to richard bell and co.. im sure they'd like some cash .. but there is no sense crying about it.. what does that achieve ??
yeah, the idea of transparency is excellent amino films, in fact that would be great reading, then we'd get to see into the heart of the matter, and the most juicy thing would be isolating the moment when successful grants recipients suddenly lose favour, because they pissed off the wrong member of the panel, because from what i've read there's a whole lot of politics involved in this kind of thing,
as for this:
//that is a very nieve and offensive take on what brendan has done.
and not calling you a goon blink, but i think you could do a better job, if you just took yourself a little less seriously ;p
"but basically, there was a very healthy underground music scene before NZOA, there continues to be a healthy undergorund scene still and there always will be. "
To say this you must be well under 20 years of age !!!
I find this a strange comment, since the advent of NZOA (and its earlier forms) were catalysts for most of The Flying Nun artist and subsequently.
The money made it happen
Today is much easier with the infastructures formed from the nest building of Creative NZ and NZOA.
As someone whom pays taxes (i'm not sure you do?) I think NZOA is a laudible organisation.
simon. I'm not to sure what that post means. I am not extremely well versed on my history of NZOA..but haven't they only been around since the very end of the eighties? I'm probably wrong.
There is a ridiculously strong underground scene, apparently weaker now then in the early eighties, yet I see evidence of fuckloads of bands making great recordings and making great videos without the need of NZOA.
I don't think any of the songs on the low hum disc's have recieved NZOA funding (not that i would care if they did..it doesn't bother me) and I find them to be of very high quality. I have many more compilations of material ready of music (again unfunded) to be put out.
and cheers, even though the beard makes me look older, i can reassure you , i am only 16.
// then you need a new funding body, not a new scheme
not at all. I'm sure that this scheme could be implemented and when I interviewed Brendan I raised this point with him. He conceded that NZOA has investigated such a strategy. Essentially most of the process would be the same, but artists applying for different schemes would be purely in different strains. What makes you think that NZOA would have to be replaced???
because of this "I realise that NZOA's focus is on commercial radio, but I feel that some acts are getting passed by. "
what does that even mean?
do you envision more "tastemakers"? If you are thinking that NZOA could simply open their board up to include PD's from student and non-commercial radio to be involved in also choosing artists, then yes, keeping the NZOA framework would work. (even though this concept goes against their charter/mandate) Otherwise, I'm not sure what you're getting at.
My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
What I think is that some of the artists who have crossover potential are having to do it all themselves - not a bad thing in itself, but it would be nice if it didnt hit them in the pocket as much. And for some who have not been able to do that, it has meant that they are slipping by, something Brendan is aware of. Sorry Rudy, but The Phoenix Foundation are a great example of an indie band with great crossover potential to be the darlings of the bNet but also make more of a sales impact, who have not received NZOA funding yet. It would be nice if they got some Govt support in this endeavour, as evidenced by the level of feeling every time the decision list comes out.
Given that commercial artists are doing quite well at the moment, it might be time for a change. A format like you suggest where bNet programmers decide would be an easy solution.
Having said that the number of indie acts who got grants this time around is fantastic and a welcome change.
yeah, its a pretty obviosu idea, but one which goes against their established policys. NZOA i doubt will ever take the opinion of a station with a 2% market share over one with a 20% market share. If they do , it will only count for giving a few indie acts money...of which they already do...
//My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
sure and hooray for that, but i can guarantee that no new zealand act will sell more than 4 million copie of an album in NZ, so ultimately it's a limited market for NZOA to solely aim at and keep push towards.
sure NZ loves a lot of poor man's versions of international acts now but the export potential of the vast majority of this is zilch. who are at the top? B. Runga, Pacifier, etc none of these acts have sold even 50,000 albums in the US and it's not for lack of trying, or exposure, or deals, it's just because the US just doesn't seem to want to import watered down versions of the music it imports, it wants something fresh, in contrast crowded house have sold 30,000,000 units world wide
So in essence NZOA could be seen as an opposing force to Creating Heat, because nothing that NZOA has forked heaps of cash out for has made any significant international impact.
creative heat, but i think the most relevant thing NZOA should consider is that uber commercial rolling stone magazine voted pavement the band of the nineties, and if ever there was a NZ influenced band then Pavement were it, and they weren't a band striving for that hallowed trophy of commercial radio stardom, they were playing to niche markets and small pockets, but in the larger sense they made more of an impact than alot of more commercial bands from their era. and i'm fairly certain if the playlisters turned new Zealanders on mass onto similar ethics ie the phoneix foundation etc, then people wouldn't turn off their radio, because people generally don't turn off their radios because they are at work etc,
so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it could be much much better?
//My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
sure and hooray for that, but i can guarantee that no new zealand act will sell more than 4 million copie of an album in NZ, so ultimately it's a limited market for NZOA to solely aim at and keep push towards.
sure NZ loves a lot of poor man's versions of international acts now but the export potential of the vast majority of this is zilch. who are at the top? B. Runga, Pacifier, etc none of these acts have sold even 50,000 albums in the US and it's not for lack of trying, or exposure, or deals, it's just because the US just doesn't seem to want to import watered down versions of the music it imports, it wants something fresh, in contrast crowded house have sold 30,000,000 units world wide
So in essence NZOA could be seen as an opposing force to Creating Heat, because nothing that NZOA has forked heaps of cash out for has made any significant international impact.
creative heat, but i think the most relevant thing NZOA should consider is that uber commercial rolling stone magazine voted pavement the band of the nineties, and if ever there was a NZ influenced band then Pavement were it, and they weren't a band striving for that hallowed trophy of commercial radio stardom, they were playing to niche markets and small pockets, but in the larger sense they made more of an impact than alot of more commercial bands from their era. and i'm fairly certain if the playlisters turned new Zealanders on mass onto similar ethics ie the phoneix foundation etc, then people wouldn't turn off their radio, because people generally don't turn off their radios because they are at work etc,
so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it couldn't be much much better?
// NZOA i doubt will ever take the opinion of a station with a 2% market share over one with a 20% market share.
True. But one only needs to look at Golden Horse for an example of a bNet band that once given some $$ from NZOA, hugely raised their profile and attained some degree of success.
// so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it couldn't be much much better?
As the music TV PD's some a lot of say in the decision making process, I think it would be great to have some clips that receive funding that they haven't selected. Maybe not to the same levels of funding, but recognised nonetheless.
My point exactly. It now looks like that the commercial bias might now be loosening. In terms of the Phoenix Foundation I wonder if they will now get a grant based on their Best Album nomination at the Tuis? Will they be this years Golden Horse?
But maybe I'm just talking out of a hole in my a$$!
Lay off Brendan. Thats just simply a personal attack on someone just doing their job. Blinks is right - if you disagree with the decisions made you should look at the judges and the process.
Brendan is one of the local cultural hero's in that he has managed to put up with this crap for so long but is still a nice man who continues to be enthusiastic and open minded about NZ music. I know I wouldn't be with fucks like you bitching about why my shit songs dont get government hand-outs.
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Ben lummis gets another $5000?? ontop ...
Ben lummis gets another $5000?? ontop of the $400,000 Nzonair has already invested in him??
Signed artists who dont need to finance there own work recive grants....
All in a Nzonair funding round :-P
The $400000 was from the Television ...
The $400000 was from the Television Funding not Radio/video Funding, but still a bit of a poke in the eye.
Actually the question is has any of the $400000 been paid back to the Funding Body ?
Who is Ben Lummis? Not in a mean ...
Who is Ben Lummis? Not in a mean way...
Oh well, I recently found out that the majority of the funding gets decided by commercial radio station (the rock, channel z) programme managers. Apparently they don't even consider anything over 4.30 minuten as part of their playlist. Lame lame muthafuckers. But the story goes that they get played the songs, and the ones that they would playlist get funding. HOW TYPICALLY SHORTSIGHTED. Go NZ Arts Funding, and the constant celebration of mediocrity!
Also, go SJD. You fucking rule man.
Also, as for the 4.30 minutes: Haven't ...
Also, as for the 4.30 minutes: Haven't they heard "Stairway to Heaven"?
probably not. it doesn't get played on ...
probably not. it doesn't get played on commercial daytime radio.
it did in the seventies...and on that ...
it did in the seventies...and on that note when sgt pepper was released some of the rock stations in the us played thw whole album for about a week!!! people loved it because it respects their ability to experience something as opposed to just being fed background garbage
ahhh, that was then...etc......
ahhh, that was then...etc...
never really liked sgt peppers...
never really liked sgt peppers
What an utter joke. Check out NZOA by ...
What an utter joke. Check out NZOA by Subtract. Sums it all up. ITS YOUR MONEY PEOPLE!!!!
blah blah blah - "stupid NZ on Air..." ...
blah blah blah - "stupid NZ on Air..." blah blah "...funding majors..."
fair enough - some major label artists got funded. but what about the 19 indie acts that got video funding? compared to the 5 major acts? 4 of the 5 radio hits funding grants went to indie acts. Another 11 grants for new recordings by indies.
Amongst the video grants you've got SJD, Baitercell, The Acclerants, The Fanatics and the Heavy Jones Trio (to name the acts I think are a step above the usual commercial fodder that fills the airwaves). There is, admittedly, some old-school commercial rock pap, but that's part and parcel of arts funding - you'll never please everyone all the time.
And also, there's a reason why people ...
And also, there's a reason why people call other stuff 'commercial' and that's because it pleases a lot of other people.
noizy boy, i concur...
noizy boy, i concur
[ http://www.thehendersonexperience.co.nz ]
Nz on Air are so cool, what would we do ...
Nz on Air are so cool, what would we do without them!!!!!!!!!
talking with a mate over a couple of ...
talking with a mate over a couple of slippery nipples last night and we started discussing this,
he was complaining that New Zealand has done so poorly at the Olympics and that we should quit wasting money on the music and instead focus more of it in the direction of sport, citing the Australians as an example,
but I was like "hell no brother!",
even though half of these videos only get played a couple of times on TV doesn't mean they aren't worth the $5000 to make them, and even if alot of these tracks which get grants have already received radio play, it's still worth $5000 to rerecord them so we can hear a better version! I think this kind of thing is a really important use for tax payers money.
It's not like $5000 is going to pay for a hospital operation or anything, it's just 5 grand and i think everyone in this country is easily rich enough that noone's gonna miss another $140, thou a year, that's only as much as a politician costs to maintain, and I reckon these vids are a much better investment than politicians.
I think these grants are an important investment for our country, before them we had nothing, just crap like Split Enz, Dave Dobbyn and the Dance Exponents hitting the airwaves,
now we have a whole lot of really cool successful music that's going world wide man,
like Scribe, Zed, Pacifier, Daniel Beddingfield, Hayley Westenra, etc
the list of quality New Zealand acts now making it, is endless and i even reckon that a lot of these New Zealand acts are even more successful overseas than we a led to believe at home. So there is no question that spending this money on music will give New Zealand a far higher profile than a couple more Olympic medals.
haha....
haha.
Does Daniel Beddingfield really count ...
Does Daniel Beddingfield really count as a NZ act?
Sorry but... what kind of an ignorant ...
Sorry but... what kind of an ignorant butt fuck would call Split Enz and Dave Dobbyn as crap? Not exactly my faveourite stuff, to be honest, apart from the occasional number, but without a doubt CLASS CLASS (not to mention classic) NZ acts.
I recently read a review of FRANZ FERDINAND in popular UK music mag UNCUT, and it namechecked 2 bands that FF sound like (or have similar energy to) those were TALKING HEADS and, you guessed it, not, SPLIT ENZ.
And they was doing it before NZ on air, too.
OH MY GOD, I only now finished reading ...
OH MY GOD, I only now finished reading the entire ridiculousness of that post. Zed, Danel Beddingfield and Hayley Westernra hey? Usually follow my Gary Barlow records... Umm, also, having just been to Italy, Switzerland, Czech, Poland, England, Indonesia, most excitingly Australia, I can assure you that, unfortunately, no. NZ music is not making the kind of splash we would all be hoping for it to be.
Although, I did see THE MINT CHICKSes 7 incher at ROUGH TRADE in London, and in a cool record store in Bristol (which is a very nice, wellingtony sort of a town actually). It was displayed on the wall behind the counter in the place usually reserved for the cool shit in both shops too. I found NONE (thats: zip zero nada nothing nyet nien nicht !) nz stuff in rough trades NZ/OZ section. Just a pile of OZ shit I had never heard of.
Hayley Westernra is known in the UK. I'm sure thats really turning people onto Kiwi music. "It's as cool as an 11 year old singing pseudo-opera!" Could be the catch phrase. Daniel Beddingfield is big too, but he didn't make his career in NZ did he? And anyway, he fucking sux. The Datsuns, though are actually quite big in the UK, being darlings of NME et al, and their album was up at HMV's around the place as a current big hitter.
In OZ though, i saw multiple rows of Scribe CD's at all the major record stores, and big ads for GoodShirt's new one. Also saw copies of Phoenix Foundation in a nce wee place in Fremantle of all places (chuffed).
Look, the thing is, I want NZ music to be making it large just like you do so don't get me wrong. I ain't no negative creep, just telling yous tha truth like I saws it. But never mind, theres always next year, and album number 2...
Keep the faith, live the dream, be yourself, no compromise EVER!
Blinkus, as far as that post goes, I agree: ha ha ha
ahh Bristol, GnR, my mate's walkman on ...
ahh Bristol, GnR, my mate's walkman on the Clifton suspension bridge. good times.
and as far as the ENZ goes, the holy ...
and as far as the ENZ goes, the holy trinity Waiata [corroboree],time and tide and true colours,
they bring me home everytime.
there must be very few people in this country with their head further up their ass than Brendan Smythe,
very few people,
very few people indeed,
very very few people....
come on Smythe you numbskull, stop being a ding bat, throw some money at the Foundation,
acknowledge that your notion of 'viable' is tenuous at best and actually support some quality for a change. Maybe when you get old and shrink wrapped you might be able to take some heart in that fact that you threw a tiny percentage of your fellow countrymen's hard earned money at something of lasting quality, 'cos when you hit retirement age Brendy, noone's gonna be giving you a celebratory speech and a gold Olympic, for forking over a barrow load cash for a K-Lee vid, that ain't gonna happen sonny. cos that music's got no heart.
//ignorant butt fuck classic, gets ...
//ignorant butt fuck
classic, gets me every time
yo "rudy" i think rope was taking the ...
yo "rudy" i think rope was taking the piss man.
// there must be very few people in this country with their head further up their ass than Brendan Smythe,
if you a serious though with this post, then you are the ignorant buttfuck. The desicions for funding come from reccomendations from program directors as to what they would play. If a song doens't get funding it is because no radio programmer wants to take the risk and play it. It is NOT a case of Brendan sitting in his office deciding which bands to give money to. The desicion is not in his hands.
You can bitch NZOA all you like, but at the end of the day, the fault lies with the programme directors of commercial radio stations, and since this IS about commercial radio and NOT student radio, we just have to take it up the ass.
Give brendan a break and start bitching about the PDs of The Rock , ZM, The Edge etc..etc..
ahah rope! snap! (no pun ...
ahah rope! snap! (no pun intended).
yeah I suspect we're not too far off the same page, really. I've always defended the people that get attacked personally on this site. For better or worse.
I don't really know about that letter stuff - you may well be right. I'm just not sure this site functions all that well as a hanging tree? Does that make common sense? I hope so.
I mean why is it ok for members of this ...
I mean why is it ok for members of this site to abuse musicians everyday, and yet not to criticise a guy who is earning far more than most of them to make or break their careers...what is with that?
yeah, makes perfect sense, and that ...
yeah, makes perfect sense, and that last post i wrote reeks and i'll gladly farewell well it if possible...to be honest i never usually read the names of who wins the NZOA, but I only just figured out that the Phoenix foundation never received a grant which 1 is quite astounding considering the talent they have and profile they've already garnered for themselves, 2 the fact that NZOA has refused to help them at all.
// and sure he's just doing a job, but ...
// and sure he's just doing a job, but if the only real job he's been allocated is to write and justify decisions that other people made, then I reckon they could find a better writer, 'cultural hero' if you will...it's not like some other goon couldn't doing Brendon's job just as adequately
that is a very nieve and offensive take on what brendan has done.
you raise some fairly standard points which have been raised many times over. Yeah, sure a fuckload of good bands haven't been given money, sure "a commercialy viable track" is just a track that has been thrashed 1000 times..
but basically, there was a very healthy underground music scene before NZOA, there continues to be a healthy undergorund scene still and there always will be. The Phoenix Foundation continue to be one of the finest bands in the land and good bands will alway slog on and do shit regardless. Bands that wait around for a handout gain no respect from me, or from many others i'm sure, bands doing it without the assistance of NZOA however, gain much respect.
NZOA is what it is, its not going to change its mandate, just let it go on its business and find battles worth fighting.
I think that in the best interests of ...
I think that in the best interests of NZOA it might be a good idea for them to publish the full list of applicants in order to make the process transparent. It might open them up to a bit more discussion, but at least it makes them accountable.
I'm a big fan of a dual grant scheme, where commercial acts are treated seperately from more "indie/arthouse" acts. I realise that NZOA's focus is on commercial radio, but I feel that some acts are getting passed by.
[ http://www.aminofilms.com ]
i dont think phoenix not getting any ...
i dont think phoenix not getting any monies for videos has done them any harm.. thanks to richard bell and co.. im sure they'd like some cash .. but there is no sense crying about it.. what does that achieve ??
Brendan has told me that Horse Power is ...
Brendan has told me that Horse Power is one of his favourite local albums...but as above. It is not his descion unfortunately.
yeah, the idea of transparency is ...
yeah, the idea of transparency is excellent amino films, in fact that would be great reading, then we'd get to see into the heart of the matter, and the most juicy thing would be isolating the moment when successful grants recipients suddenly lose favour, because they pissed off the wrong member of the panel, because from what i've read there's a whole lot of politics involved in this kind of thing,
as for this:
//that is a very nieve and offensive take on what brendan has done.
and not calling you a goon blink, but i think you could do a better job, if you just took yourself a little less seriously ;p
//but there is no sense crying about ...
//but there is no sense crying about it.. what does that achieve ??
i don't think anyone's crying here Sam Flux, irony detector still not working?
// I'm a big fan of a dual grant ...
// I'm a big fan of a dual grant scheme, where commercial acts are treated seperately from more "indie/arthouse" acts
then you need a new funding body, not a new scheme.
// and not calling you a goon blink, ...
// and not calling you a goon blink, but i think you could do a better job, if you just took yourself a little less seriously ;p
haha..good call.
what politics? - its a numbers game - ...
what politics? - its a numbers game - end of story... its not subjective.. blame the public..
smoke less weed...
smoke less weed
<irony detector malfunction>...
at least the beer arm's still firing ...
at least the beer arm's still firing on all cylinders.
"but basically, there was a very ...
"but basically, there was a very healthy underground music scene before NZOA, there continues to be a healthy undergorund scene still and there always will be. "
To say this you must be well under 20 years of age !!!
I find this a strange comment, since the advent of NZOA (and its earlier forms) were catalysts for most of The Flying Nun artist and subsequently.
The money made it happen
Today is much easier with the infastructures formed from the nest building of Creative NZ and NZOA.
As someone whom pays taxes (i'm not sure you do?) I think NZOA is a laudible organisation.
simon. I'm not to sure what that post ...
simon. I'm not to sure what that post means. I am not extremely well versed on my history of NZOA..but haven't they only been around since the very end of the eighties? I'm probably wrong.
There is a ridiculously strong underground scene, apparently weaker now then in the early eighties, yet I see evidence of fuckloads of bands making great recordings and making great videos without the need of NZOA.
I don't think any of the songs on the low hum disc's have recieved NZOA funding (not that i would care if they did..it doesn't bother me) and I find them to be of very high quality. I have many more compilations of material ready of music (again unfunded) to be put out.
and cheers, even though the beard makes me look older, i can reassure you , i am only 16.
ha - the funniest part is that i think ...
ha - the funniest part is that i think youre both right.. hehe
// then you need a new funding body, ...
// then you need a new funding body, not a new scheme
not at all. I'm sure that this scheme could be implemented and when I interviewed Brendan I raised this point with him. He conceded that NZOA has investigated such a strategy. Essentially most of the process would be the same, but artists applying for different schemes would be purely in different strains. What makes you think that NZOA would have to be replaced???
[ http://www.aminofilms.com ]
because of this "I realise that NZOA's ...
because of this "I realise that NZOA's focus is on commercial radio, but I feel that some acts are getting passed by. "
what does that even mean?
do you envision more "tastemakers"? If you are thinking that NZOA could simply open their board up to include PD's from student and non-commercial radio to be involved in also choosing artists, then yes, keeping the NZOA framework would work. (even though this concept goes against their charter/mandate) Otherwise, I'm not sure what you're getting at.
Blink, you pretty much answered it for ...
Blink, you pretty much answered it for me.
My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
What I think is that some of the artists who have crossover potential are having to do it all themselves - not a bad thing in itself, but it would be nice if it didnt hit them in the pocket as much. And for some who have not been able to do that, it has meant that they are slipping by, something Brendan is aware of. Sorry Rudy, but The Phoenix Foundation are a great example of an indie band with great crossover potential to be the darlings of the bNet but also make more of a sales impact, who have not received NZOA funding yet. It would be nice if they got some Govt support in this endeavour, as evidenced by the level of feeling every time the decision list comes out.
Given that commercial artists are doing quite well at the moment, it might be time for a change. A format like you suggest where bNet programmers decide would be an easy solution.
Having said that the number of indie acts who got grants this time around is fantastic and a welcome change.
righto.
R
[ http://www.aminofilms.com ]
yeah, its a pretty obviosu idea, but ...
yeah, its a pretty obviosu idea, but one which goes against their established policys. NZOA i doubt will ever take the opinion of a station with a 2% market share over one with a 20% market share. If they do , it will only count for giving a few indie acts money...of which they already do...
//My feeling is that the commercial ...
//My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
sure and hooray for that, but i can guarantee that no new zealand act will sell more than 4 million copie of an album in NZ, so ultimately it's a limited market for NZOA to solely aim at and keep push towards.
sure NZ loves a lot of poor man's versions of international acts now but the export potential of the vast majority of this is zilch. who are at the top? B. Runga, Pacifier, etc none of these acts have sold even 50,000 albums in the US and it's not for lack of trying, or exposure, or deals, it's just because the US just doesn't seem to want to import watered down versions of the music it imports, it wants something fresh, in contrast crowded house have sold 30,000,000 units world wide
So in essence NZOA could be seen as an opposing force to Creating Heat, because nothing that NZOA has forked heaps of cash out for has made any significant international impact.
creative heat, but i think the most relevant thing NZOA should consider is that uber commercial rolling stone magazine voted pavement the band of the nineties, and if ever there was a NZ influenced band then Pavement were it, and they weren't a band striving for that hallowed trophy of commercial radio stardom, they were playing to niche markets and small pockets, but in the larger sense they made more of an impact than alot of more commercial bands from their era. and i'm fairly certain if the playlisters turned new Zealanders on mass onto similar ethics ie the phoneix foundation etc, then people wouldn't turn off their radio, because people generally don't turn off their radios because they are at work etc,
so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it could be much much better?
//My feeling is that the commercial ...
//My feeling is that the commercial radio focus of NZOA has paid dividends. NZ music has never enjoyed such a prominent position in the charts or in the public's consciousness. And this has spin off effects for the more indie acts, both economically and commercially, but...
sure and hooray for that, but i can guarantee that no new zealand act will sell more than 4 million copie of an album in NZ, so ultimately it's a limited market for NZOA to solely aim at and keep push towards.
sure NZ loves a lot of poor man's versions of international acts now but the export potential of the vast majority of this is zilch. who are at the top? B. Runga, Pacifier, etc none of these acts have sold even 50,000 albums in the US and it's not for lack of trying, or exposure, or deals, it's just because the US just doesn't seem to want to import watered down versions of the music it imports, it wants something fresh, in contrast crowded house have sold 30,000,000 units world wide
So in essence NZOA could be seen as an opposing force to Creating Heat, because nothing that NZOA has forked heaps of cash out for has made any significant international impact.
creative heat, but i think the most relevant thing NZOA should consider is that uber commercial rolling stone magazine voted pavement the band of the nineties, and if ever there was a NZ influenced band then Pavement were it, and they weren't a band striving for that hallowed trophy of commercial radio stardom, they were playing to niche markets and small pockets, but in the larger sense they made more of an impact than alot of more commercial bands from their era. and i'm fairly certain if the playlisters turned new Zealanders on mass onto similar ethics ie the phoneix foundation etc, then people wouldn't turn off their radio, because people generally don't turn off their radios because they are at work etc,
so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it couldn't be much much better?
// NZOA i doubt will ever take the ...
// NZOA i doubt will ever take the opinion of a station with a 2% market share over one with a 20% market share.
True. But one only needs to look at Golden Horse for an example of a bNet band that once given some $$ from NZOA, hugely raised their profile and attained some degree of success.
// so sure NZOA has boosted sales and the profile, but who's to say they couldn't boost sles 100% more if they started feeding us more authentic sounding kiwi music than the americana we get?
who's to say just because it's good doesn't mean it couldn't be much much better?
As the music TV PD's some a lot of say in the decision making process, I think it would be great to have some clips that receive funding that they haven't selected. Maybe not to the same levels of funding, but recognised nonetheless.
My point exactly. It now looks like that the commercial bias might now be loosening. In terms of the Phoenix Foundation I wonder if they will now get a grant based on their Best Album nomination at the Tuis? Will they be this years Golden Horse?
But maybe I'm just talking out of a hole in my a$$!
[ http://www.aminofilms.com ]
Lay off Brendan. Thats just simply a ...
Lay off Brendan. Thats just simply a personal attack on someone just doing their job. Blinks is right - if you disagree with the decisions made you should look at the judges and the process.
Brendan is one of the local cultural hero's in that he has managed to put up with this crap for so long but is still a nice man who continues to be enthusiastic and open minded about NZ music. I know I wouldn't be with fucks like you bitching about why my shit songs dont get government hand-outs.
what he said...
what he said
Amen Brothazzzzz........
Amen Brothazzzzz.....