Hearing Ourselves: Globalisation, the State, Local Content and New Zealand Radio
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HEARING OURSELVES: GLOBALISATION, THE STATE, LOCAL CONTENT AND NEW ZEALAND RADIO A thesis submitted in fulfilment of the requirements for the degree of Master of Arts in Sociology at the University of Canterbury by Zita Joyce University of Canterbury 2002 ii Abstract _____________________________________________________________________ Local music content on New Zealand radio has increased markedly in the years between 1997, when content monitoring began, and January 2002. Several factors have contributed to this increase, including a shift in approach from musicians themselves, and the influence of a new generation of commercial radio programmers. At the heart of the process, however, are the actions of the New Zealand State in the field of cultural production. The deregulation of the broadcasting industry in 1988 contributed to an apparent decline in local music content on radio. However, since 1997 the State has attempted to encourage development of a more active New Zealand culture industry, including popular music. Strategies directed at encouraging cultural production in New Zealand have positioned popular music as a significant factor in the development and strengthening of ‘national’ or ‘cultural’ identity in resistance to the cultural pressures of globalisation. This thesis focuses on the issue of airtime for New Zealand popular music on commercial radio, and examines the relationship between popular music and national identity. The access of New Zealand popular music to airtime on commercial radio is explored through analysis of airplay rates and other music industry data, and a small number of in-depth interviews with radio programmers and other people active in the industry. A considerable amount of control over the kinds of music supported and produced in New Zealand lies with commercial radio programmers. In interviews, programmers expressed openness to the idea of playing New Zealand music on the radio, and an appreciation of the work of New Zealand on Air, while rejecting legislation setting quotas for local content. The Code of Practice for Local Music in Broadcasting introduced by the Radio Broadcasters Association in March 2002 offers a middle way between legislation requiring airtime for local music and the existing strategies of New Zealand on Air. However, New Zealand commercial radio is a nationally networked medium largely owned by global corporations, and its agendas are influenced by global commercial factors. These imperatives may not be consistent with attempts to use locally produced music to foster a unique New Zealand cultural identity. This thesis suggests that a New Zealand identity that is constructed through iii fostering New Zealand music on air will be a fluid and negotiated identity. It will reflect the need of the commercial music industry to ‘fit’ with international agendas, while maintaining points of difference and embracing localisation as a marketing tool. iv Acknowledgements _________________________________________________________________ Many thanks to the people who participated in the interview parts of this research, were so generous with time and energy, and with whom I had such enjoyable conversations: the interview participants, David Brice, Rodger Clamp, Brad King, Brendan Smyth, Grant Hislop, Martin Durrant, Arthur Baysting, Jennie Allen; the people who provided invaluable background information and assistance in the interview process, Paul Kennedy, Suzanne Wilson, Nicky Jarvis, Abbie Rutledge, Tanya Perrie, Nicky Harrop, Kim Boshier, Janine Russell, Lily Star, Andy Mitchell, and Angela Means; and to Fiona and Mark for letting me stay along the way. Many thanks also to everyone who has been so helpful and contributed information and helpful things, particularly once I ended up on the other side of the world, most importantly Pip and Mum for the Listener cuttings and news updates, and Dad for submitting it! Thank you Rosemary, Mohammed, Bob and the sociology department for this experiment in online thesis supervision. And for encouragement, consideration, sensible suggestions, rants and raves: Rosemary of course, Adam, Jayne, Charlotte, Adam H, Honor, Julie, Julia, Sarah, Don, Magdalena, the Acoustic Space Lab, the b.net, and everyone else who has helped in all sorts of ways. v Hearing Ourselves: Globalisation, the State, Local Content and New Zealand Radio Contents _________________________________________________________________ Abstract.............................................................................................................................. ii Acknowledgments ............................................................................................................ iv Contents ............................................................................................................................. v Chapter One: Introduction .............................................................................................. 1 The global, the local, radio and pop music.............................................................. 3 Mapping the thesis................................................................................................. 12 Conclusion............................................................................................................. 17 Chapter Two: Patterns................................................................................................... 18 Globalisation - localisation.................................................................................... 19 Hybridisation ......................................................................................................... 25 Cultural production, popular music and the ‘local’............................................... 31 Conclusion............................................................................................................. 37 Chapter Three: Process.................................................................................................. 39 Participant observation - being an insider/outsider ............................................... 42 Data collection in the music industry .................................................................... 47 Talking with key actors - the interviews ............................................................... 53 The radio programmers ............................................................................. 53 The record companies ............................................................................... 57 Government agencies and other areas of the industry............................... 59 Conclusion............................................................................................................. 60 Chapter Four: Policy ...................................................................................................... 62 Deregulation .......................................................................................................... 64 New Zealand music quotas.................................................................................... 72 New Zealand on Air .............................................................................................. 81 Conclusion............................................................................................................. 93 Chapter Five: Production............................................................................................... 95 Music, broadcasting and the global market........................................................... 96 The international sound ......................................................................................... 99 Using globalisation.............................................................................................. 103 vi The search for an internationally acceptable yet unique sound........................... 108 Conclusion........................................................................................................... 111 Chapter Six: People and Place..................................................................................... 113 New Zealandness - communicating place ........................................................... 116 Discourses of national identity ............................................................................ 120 Connecting people ............................................................................................... 126 Conclusion........................................................................................................... 129 Chapter Seven: Conclusion.......................................................................................... 131 Appendix One: Research participants........................................................................ 138 Appendix Two: Access: Interview Information......................................................... 139 Appendix Three: Interview questions......................................................................... 142 Appendix Four: New Zealand content........................................................................ 148 Appendix Five: Code of Practice for New Zealand Music Content in Radio Broadcasting.................................................................................................................. 150 References...................................................................................................................... 153 1 Chapter 1 Introduction _____________________________________________________________________