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The Nudge, Ahoribuzz and @Peace
GROOVe gUiDe . FamilY owneD and operateD since jUlY 2011 SHIT WORTH DOING tthhee nnuuddggee pie-eyed anika moa cut off your hands adds to our swear jar no longer on shaky ground 7 - 13 sept 2011 . NZ’s origiNal FREE WEEKlY STREET PRESS . ISSUe 380 . GROOVEGUiDe.Co.NZ Untitled-1 1 26/08/11 8:35 AM Going Global GG Full Page_Layout 1 23/08/11 4:00 PM Page 1 INDEPENDENT MUSIC NEW ZEALAND, THE NEW ZEALAND MUSIC COMMISSION AND MUSIC MANAGERS FORUM NZ PRESENT GOING MUSIC GLOBAL SUMMIT WHAT YOU NEED TO KNOW BEFORE YOU GO If you are looking to take your music overseas, come and hear from people who are working with both new and established artists on the global stage. DELEGATES APPEARING: Natalie Judge (UK) - Matador Records UK Adam Lewis (USA) - The Planetary Group, Boston Jen Long (UK) - BBC6 New Music DJ/Programmer Graham Ashton (AUS) - Footstomp /BigSound Paul Hanly (USA) - Frenchkiss Records USA Will Larnach-Jones (AUS) - Parallel Management Dick Huey (USA) - Toolshed AUCKLAND: MONDAY 12th SEPTEMBER FREE ENTRY SEMINARS, NOON-4PM: BUSINESS LOUNGE, THE CLOUD, QUEENS WHARF RSVP ESSENTIAL TO [email protected] LIVE MUSIC SHOWCASE, 6PM-10:30PM: SHED10, QUEENS WHARF FEATURING: COLLAPSING CITIES / THE SAMI SISTERS / ZOWIE / THE VIETNAM WAR / GHOST WAVE / BANG BANG ECHE! / THE STEREO BUS / SETH HAAPU / THE TRANSISTORS / COMPUTERS WANT ME DEAD WELLINGTON: WEDNESDAY 14th SEPTEMBER FREE ENTRY SEMINARS, NOON-5PM: WHAREWAKA, WELLINGTON WATERFRONT RSVP ESSENTIAL TO [email protected] LIVE MUSIC SHOWCASE, 6PM-10:30PM: SAN FRANCISCO BATH HOUSE FEATURING: BEASTWARS / CAIRO KNIFE FIGHT / GLASS VAULTS / IVA LAMKUM / THE EVERSONS / FAMILY CACTUS PART OF THE REAL NEW ZEALAND FESTIVAL www.realnzfestival.com shit Worth announciNg Breaking news Announcements Hello Sailor will be inducted into the New Zealand Music Hall of Fame at the APRA Silver Scroll golDie locks iN NZ Awards, which are taking place at the Auckland Town Hall on the 13th Dates September 2011. -
Annual Report 2009-2010 PDF 7.6 MB
Report NZ On Air Annual Report for the year ended 30 June 2010 Report 2010 Table of contents He Rarangi Upoko Part 1 Our year No Tenei Tau 2 Highlights Nga Taumata 2 Who we are Ko Matou Noa Enei 4 Chair’s introduction He Kupu Whakataki na te Rangatira 5 Key achievements Nga Tino Hua 6 Television investments: Te Pouaka Whakaata 6 $81 million Innovation 6 Diversity 6 Value for money 8 Radio investments: Te Reo Irirangi 10 $32.8 million Innovation 10 Diversity 10 Value for money 10 Community broadcasting investments: Mahi Whakapaoho a-Iwi 11 $4.3 million Innovation 11 Diversity 11 Value for money 11 Music investments: Te Reo Waiata o Aotearoa 12 $5.5 million Innovation 13 Diversity 14 Value for money 15 Maori broadcasting investments: Mahi Whakapaoho Maori 16 $6.1 million Diversity 16 Digital and archiving investments: Mahi Ipurangi, Mahi Puranga 17 $3.6 million Innovation 17 Value for money 17 Research and consultation Mahi Rangahau 18 Operations Nga Tikanga Whakahaere 19 Governance 19 Management 19 Organisational health and capability 19 Good employer policies 19 Key financial and non financial measures and standards 21 Part 2: Accountability statements He Tauaki Whakahirahira Statement of responsibility 22 Audit report 23 Statement of comprehensive income 24 Statement of financial position 25 Statement of changes in equity 26 Statement of cash flows 27 Notes to the financial statements 28 Statement of service performance 43 Appendices 50 Directory Hei Taki Noa 60 Printed in New Zealand on sustainable paper from Well Managed Forests 1 NZ On Air Annual Report For the year ended 30 June 2010 Part 1 “Lively debate around broadcasting issues continued this year as television in New Zealand marked its 50th birthday and NZ On Air its 21st. -
Registered Master Rights Holders (Labels)
RECORDED MUSIC NZ - REGISTERED MASTER RIGHTS HOLDERS (LABELS) As at AUGUST 2021 #23 RECORDS ADAM HATTAWAY ALEXANDER WILDWOOD *JOY* ADAM HATTAWAY AND THE ALIEN WEAPONRY HAUNTERS @PEACE ALISTAIRFRASER ADAM MCLEAN 1814 ALIZARIN LIZARD ADAM TUKIRI 2 AM ORCHESTRA ALKEMY THEATRE ADAM WHAUWHAU 2POP LIMITED ALL THE COLOURS ADELAIDE CARA 2XM ALLAN WILKINS ADORE 1996 303 ENT LTD ALLAN WILSON ADRIAN HOLLAY 37 HZ LIMITED ALLANA GOLDSMITH AEROPLANE MUSIC 4SAYKEN SERVICES LIMITED AllGOOD ABSOLUTE ALTERNATIVE RECORDS 60/40 RECORDS AFFSID AND JEFF PREME LTD 60LIVE ENTERTAINMENT AFFSID KIDJHAGIFFY ALPHA BETA GAMMA LTD AFTA DINA MINT ALPHABETHEAD 6EMBLANCE AFTER OURS ALPHADOGG 8 STEPS TO MADNESS AGE PRYOR ALPHAMAX RECORDS LTD 8 YEARS ROUND AGENT ALSJAY 80HD RECORDS AHJAY STELINO ALY COOK 833 RECORDS AHORANGI ALYX 9-5ERS LIMITED AIDAN FINE AMAMELIA A BIT NIGEL AJ CRAWSHAW AMBA HOLLY A DEAD FOREST INDEX AKCEPT AMBEDO A LABEL CALLED SUCCESS AL INGHAM AMBER MAYA A MOVING PRODUCTION LTD ALAE AMELIA MCNABB A THOUGHT THAT CAME TO ALAN AND ALANA AMESSOFI MIND ALAN BROWN AMMP A.C. FREAZY ALAN BROWN TRIO AMNESIA JAMES AARON CARPENTER AND THE REVELATORS ALAYNA POWLEY ANABAC AARON DUTTON ALCHEMY MINE ANABEL JAMIESON AARONJURY ALEX CLOVER ANALISE TWEMLOW ABBY WOLFE ALEX TZ AND WHAT ABIGAIL KNUDSON ALEXA CASINO ANDIVERSE ABOUT THE DEADLINES ALEXANDER HARMER ANDREW MASSEURS ABOVE THE CIRCLE ALEXANDER LUCK ANDREW MOCKLER ACIDMORPH ALEXANDER LUCK AND WET ANDREW PAPAS BANDITS ANDREW RUTHERFORD RECORDED MUSIC NZ - REGISTERED MASTER RIGHTS HOLDERS (LABELS) As at AUGUST 2021 AND$UM ARCH DYNASTY AVON DADS ANDY BLUE THE ROCK ARCH HILL RECORDINGS AVYA GRACE TOYS ARISE CHURCH AWA MUSIC LTD ANDY DWYER ARJUNA OAKES AZURE ANDY GARTRELL ARKH LTD B-LUSH ANDYGIBSON ARLO MAC B O K E H ANGELFISH KIDS ARMA DEL AMOR B.A.D.S ANGEL STAR PUBLISHING HOUSE LTD ARMED IN ADVANCE BABY SITTERS CIRCUS ANGELO KING JONO DAS ARO BABY TEETH ANGELS GATE RECORDS ARRAYS BABY ZIONOV ANIKA MOA ART INC NZ LIMITED My BACKYARD MUSIC Tools ANITA A.R.T. -
Hearing Ourselves: Globalisation, the State, Local Content and New Zealand Radio
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. -
REVIEW of NZ on AIR‟S INTERNATIONAL MUSIC SUPPORT PROGRAMME (“PHASE 5”) by Chris Caddick December 2009
REVIEW OF NZ ON AIR‟S INTERNATIONAL MUSIC SUPPORT PROGRAMME (“PHASE 5”) by Chris Caddick December 2009 Table of Contents 1. Introduction ...........................................................................3 Disclosure .............................................................................3 2. Terms Of Reference .................................................................4 3. Background to Phase Five .........................................................6 4. Overview of the NZ Music Market .................................................8 4.1 The Market .....................................................................8 4.2 New Zealand Music ...........................................................9 4.3 Should NZ On Air be involved internationally? .......................... 10 5. Evaluation Of Current Activities ................................................. 13 5.1 Samplers ........................................................................ 13 5.2 Trade Fairs ................................................................... 15 5.2.1 South By South West (SXSW) ......................................... 15 5.2.2 CMJ Music Marathon .................................................... 17 5.2.3 The Great Escape ........................................................ 19 5.2.4 Midem ...................................................................... 19 5.2.5 Musexpo ................................................................... 20 5.2.6 Big Sound ................................................................. -
Download Original Attachment
MINISTRY OF SOCIAL DEVELOPMENT TE MANAT0 WHAKAHIATO ORA Holly Kennedy 2 1 DEC 20?~ [email protected] .orq. nz Dear Holly Kennedy On 15 December 2020, you emailed the Ministry of Social Development (the Ministry) requesting, under the Official Information Act 1982, the following information: • The p/aylist of songs which are played as hold music for Work and Income. Please see Table One in Appendix A, which shows the artists and songs used as hold music on the Ministry's Work and Income Line. On 15 July 2020, the Ministry received a similar Official Information Act request for hold music for the following phone lines: • Work and Income • Studylink • Senior Services • MSD National Office Reception You may be interested to view the Ministry's response to this request at the following link: www.msd.govt.nz/documents/about-msd-and-our work/publications-resources/official-information-responses/2020/july/r- 20200730-request-for-a-list-of-music-that-is-used-while-on-hold-with-msd-on the-0800-number.pdf The principles and purposes of the Official Information Act 1982 under which you made your request are: • to create greater openness and transparency about the plans, work and activities of the Government, • to increase the ability of the public to participate in the making and administration of our laws and policies and • to lead to greater accountability in the conduct of public affairs. This Ministry fully supports those principles and purposes. The Ministry therefore intends to make the information contained in this letter and any attached document available to the wider public. -
VICKI ANDERSON Talks to Iain Gordon of Fat Freddy's Drop About
8 Friday, February 8, 2013 THE PRESS, Christchurch f you know a good secret fishing spot in Canterbury and you’re OK about sharing it with Fat Freddy’s Drop I keyboardist Iain ‘‘Dobie Blaze’’ Gordon then he wants to hear from you. Speaking from the band’s studio, The Drop, the dedicated foodie says he has circled a number of prime seafood- gathering locations around New Zealand to check out, as the group makes its way around our nation’s wineries as part of the seventh annual Classic Hits Winery tour. The group is on the bill alongside new super girl group comprising Anika Moa, Boh Runga and Hollie Smith, The Adults, fronted by Shihad’s Jon Toogood and New Zealand’s Got Talent winner Clara van Wel. Gordon already has an oyster farm and a hot tip about a spot in Whangarei to get cockles but is looking for more tips. ‘‘I’d bloody love to get some fishing in. We have a day off around the Mud House show,’’ Gordon, who grew up in North Canterbury, says. ‘‘I’m always keen for anyone to take me and show me where the local delicacies reside.’’ It has been a good summer, he says. They’ve been working on their studio tans getting the new album Blackbird finished and are looking forward to spreading its songs across the country’s treetops on their one-month tour. The first single Silver and Gold is out now and could be described as the sound of an octopus pleasuring itself with Doctor VICKI ANDERSON talks to Iain Gordon of Fat Freddy’s Kiwis who brought their friends Who’s phonebox. -
Stgd 3 Cords Anika
GERALDENE PETERS GUIDE STUDY THREE CHORDS AND THE TRUTH ISSUE 35 Anika the Moa AUSTRALIAN SCREEN EDUCATION Story 1 ‘Country Music is three chords and the truth.’ Harlan Howard ‘All you need for the Blues is three chords and the truth.’ Ray Charles (The Sir Charles Blues Lab) ‘All I got is a red guitar, three chords and the truth.’ Bono improvising Bob Dylan’s ‘All Along the Watchtower’ INTRODUCTION hree Chords and the Truth: the Anika Moa is Anika Moa’s story. The narrative incorporates Story (TCT), is a documentary tracking aspects of music video aesthetic to the extent Tthe path of musician singer/songwriter that, somewhat paradoxically, non-narrative Anika Moa from the release of her fi rst album music videos end up contributing to the docu- Thinking Room in the United States (after her mentary narrative. Although TCT does work to initial ‘discovery’ by the Managing Director of educate, inform, persuade, and is interested Warner Music in New Zealand), to the subse- in issues that challenge the status quo, the quent process of reconciling her values and life documentary also has an eye to the aesthetic in Aotearoa/New Zealand with the implications pleasures of the text. of signing to a major global record label—some- thing Anika implicitly talks about in terms of Directed by Justin Pemberton, TCT was pro- ‘keeping it real’. duced by ‘The TV Set’, an Auckland-based production company of three directors set up ‘I’m just really scared of Americans, I’m scared to bypass the loss of directorial control over of the whole market, I’m scared of representing projects that can sometimes occur within larger my country in a false way.’ production companies. -
APO Annual Report 2014
2014 Annual Report Auckland Philharmonia Orchestra Auckland Philharmonia Orchestra Contents Auckland Philharmonia Orchestra is the city’s leading performing 2014 Chairman’s Report 1 arts organisation, and Auckland’s only full-time professional 2014 Chief Executive’s Report 2 symphony orchestra. APO Concerts & Audience 4 In more than 50 mainstage performances annually, the APO presents a full season of 2014 Performance Highlights 5 symphonic work showcasing many of the world’s finest classical musicians. High- APO Premieres 2014 6 profile soloists in 2014 included percussionist Dame Evelyn Glennie, violinist Ning Feng, soprano Christine Brewer, and pianist Joanna MacGregor among many others. New Zealand Artists Performing We were also delighted to welcome conductors John Nelson, Giordano Bellincampi, with the APO 2014 6 Leo Hussain, Hans Graf, Paul Goodwin, and Stephen Layton, among others, to APO Development Report 8 complement the presence of Music Director Eckehard Stier. APO Connecting 2014 9 The APO was also proud to support both New Zealand Opera and the Royal New Sistema Aotearoa 2014 10 Zealand Ballet in their Auckland performances, and to work with the Auckland International Film Festival and Auckland Choral, among other organsiations. In Financial Overview 11 alternate years, the APO also works in partnership with Auckland Arts Festival and APO Personnel 12 Michael Hill International Violin Competition. APO Financial Statements 2014 13 Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive artists, and in 2014 performed with The Adults in an APO Supporters 2014 26 exciting concert in Aotea Centre. APO Sponsors 2014 28 Through its numerous APO Connecting (education, outreach and community) initiatives the APO offers opportunities to more than 20,000 young people and adults nationwide to participate in music, ranging from hip-hop and rock to contemporary and classical. -
NOTICE SEEKING CLEARANCE 16 March
PUBLIC VERSION UNIVERSAL MUSIC – NOTICE SEEKING CLEARANCE COMMERCE ACT 1986: BUSINESS ACQUISITION SECTION 66: NOTICE SEEKING CLEARANCE 16 March 2012 The Registrar Mergers and Authorisations Commerce Commission PO Box 2351 WELLINGTON Pursuant to section 66(1) of the Commerce Act 1986, notice is hereby given seeking clearance of a proposed business acquisition. EXECUTIVE SUMMARY A Universal Music Holdings Limited or any interconnected body corporate thereof (Universal or the Applicant) seeks clearance to acquire some or all of the shares or assets of EMI Group Worldwide Holdings Limited’s (EMI) recorded music businesses (the Acquisition). This is an international merger, but both parties have operations in New Zealand. B The recorded music market consists of a single product market that encompasses both physical and digital recordings (e.g. CDs and downloaded music). This product market operates at four functional levels: artist development and creation of a recording (known as “artist and repertoire” or “A&R”); physical manufacture and distribution (relevant to physical sales only); wholesale supply of the record in physical and/or digital format; and retail supply. This application focuses on the A&R and wholesale supply markets. Universal is not active in physical manufacture and distribution; and neither party has material presence in the relevant retail market. C Only if pirated music were excluded from the analysis – which we say it should not be – would the aggregation in the wholesale supply market within New Zealand resulting from the Acquisition fall outside the Commission’s safe harbours. D In any event, the merged entity will continue to face sufficient constraint such that there will be no substantial lessening of competition in that market. -
Annual Report 2017 - 2018
THE NEW ZEALAND MUSIC COMMISSION TE REO REKA O AOTEAROA ANNUAL REPORT 2017 - 2018 SUPPORTING THE GROWTH OF THE NZ MUSIC INDUSTRY BOTH CULTURALLY AND ECONOMICALLY, AT HOME AND ABROAD THE NEW ZEALAND MUSIC COMMISSION TE REO REKA O AOTEAROA ANNUAL REPORT 2017 – 2018 Contents Introduction 3 Strategic Approach 2016 – 2020 4 Key Highlights 5 Key Projects 8 Initiatives & Results 2017 – 2018 9 Organisational Health & Capability 21 Organisational Goals 22 Financial Results 2017 – 2018 23 Directory 28 The NZ Music Commission Te Reo Reka O Aotearoa is funded by NZ MUSIC COMMISSION ANNUAL REPORT 2017 – 2018 PAGE 2 INTRODUCTION FROM THE CHAIR The Music Commission is pleased to report on the year 2017-2018, which was the The digital music market allows ever increasing access to offshore markets for NZ second year of our Strategic Plan 2016-2020 focusing on sustainable music careers artists, and we were pleased to see extensive digital impacts this year across the at home and growing the global opportunities for New Zealand artists abroad. recipients of 46 Outward Sound artist grants, whose social media impact (combined Soundcloud, Songkick, Twitter followers, YouTube views and Spotify plays) total over The presence of New Zealand music on the world stage feels like it has never been 432 million between them. greater. Simply by looking at the number of shows by NZ artists listed in our monthly International News newsletter, we see that in the past year alone there have This year we farewelled our Education Manager Michelle Ladwig Williams, and been 1,333 shows by 94 New Zealand artists across 41 countries. -
LOW Te Karaka Issue#30.Indd
NGÄI TAHU FUND HEALTHY HOMES KAHURU AUTUMN $7.95 $7.95 2006 TANE NORTON JASON DELL ROSEMARY McLEOD TOM BENNION KEI A KOE TE TIKANGA IT’S YOUR CHOICE POUNAMU: LIVING WITH A RIVER MAIKA MASON AND THE ARAHURA NGÄI TAHU FUND STRENGTHENING CULTURAL EXCELLENCE 1 FROM THE CHIEF EXECUTIVE OFFICER, TE RÜNANGA O NGÄI TAHU, TAHU POTIKI Ko te toa i a tini, i a mano o te takata. It is the courage of the multitudes, not of one person alone. Since the introduction of the Mäori seats in 1867 Ngäi Tahu have played a central role in Parliament and the nation’s democratic process. Hori Kerei Taiaroa, the second Ngäi Tahu to represent Southern Mäori, successfully passed the legislation in 1876 that established the four Mäori seats on a permanent basis. These seats were origi- EDITORIAL TEAM nally an interim measure that was only meant to be in place for fi ve years, or until all Phil Tumataroa Editor (above) Mäori were freehold landowners, thus allowing them to vote on the general roll. Debra Farquhar Assistant Editor (above left) But the length of time it took to convert title was underestimated, and the seats became Deborah Nation Assistant Editor permanent. Gabrielle Huria Toitü Te Iwi Manager (above right) Taiaroa, his contemporaries and successors quickly understood the power of Adrienne Anderson Chief Executive (above centre) Parliament to make law that could bind the government and the people, as well as CONTRIBUTORS being a place in which to represent the views of their constituency. The early years Tom Bennion Donald Couch for representatives of Southern Mäori were clearly focused on issues of importance to Jason Dell Turi Gibbs Ngäi Tahu, particularly the Claim.