APRAP WEB June 2005..

aprap
June
New Zealand Publication
Australasian Performing Right
Association Limited
2005
ISC 2004 GRAND PRIZE
WINNER: GIN WIGMORE

A WORD FROM ANT
The Gold Guitar Awards, the NZ Country Music Awards and the
MLT Songwriters Awards – they all happen in the traditional home
of country music, Gore. The weather was cold but the welcome
could not have been warmer and the music
was excellent. We were there, Arthur
Baysting and I, together with Mahinarangi
Tocker and Australian country singer Dianna
Corcoran, for the aptly named Freeze Ya Bits
Off busking competition, the songwriting
seminars and workshops, the school visits
and all the Awards. Congratulations to Kylie
Harris for winning the inaugural APRA
Country Music Song of the Year Award for
her song “Give Me Something to Go On”
and the Tui for Best Country Music Album
for her album Kylie Harris. Also congratulations to Aaron Jury for
winning the Mataura Licensing Trust Songwriters Awards for his
song “Wyre Street”.
Interest this year in NZ music month was bigger than ever. Major
(L TO R): CATH ANDERSEN, ANT HEALEY, PM HELEN CLARK, JUDITH
TIZARD, RICHARD THORNE AT THE MUSIC MONTH LAUNCH.
corporates, sponsors, the media, politicians and most importantly
the public all getting in behind NZ music. As a celebration of NZ
music, music month in May is far from a washed up idea. The
8,000 people at the Shihad launch
concert, the 5,000 that bought NZMM
T-shirts at Hallensteins or the many
PHOTO: JASON HAILES
thousands that listened to, watched or rocked
to the many music month events certainly
didn’t need convincing. Check out the photos
on pages 8 and 9. Well done to all those that
helped out in all the events up and down
the country.
There is a feast of information and
inspiration for young and old inside APRAP.
We feature young composer Gin Wigmore
and the not so young but equally amazing composer, Willow Macky.
We also mark the passing of three influential APRA members
with tributes from their family and friends, on page 15.
Anthony Healey Director of NZ Operations
1 THE MAGNIFICENT “HANDS OF FAME”
GOLD GUITAR MONUMENT WAS
OFFICIALLY OPENED AT THE START OF
GORE’S COUNTRY MUSIC FESTIVAL
2 AARON JURY 3 THE BLIND STONED
COWBOY, A PREVIOUS WINNER OF THE
GORE FREEZE YA BITS OFF BUSKING
COMPETITION, PERFORMS IN THE MAIN
STREET WITH HIS DOG RINGO. IT HAILED
DURING THE CONTEST AND THE NEXT
DAY IT SNOWED 4 GOLD GUITAR
GUESTS MAHINARANGI TOCKER AND
DIANNA CORCORAN PERFORM WITH
BEN SHEA (CENTRE) AT HERIOT
PRIMARY SCHOOL. 1
2
4 3
PHOTOS: 1, 3 ,4 ARTHUR BAYSTING
The Silver Scroll
Awards 2005
Auckland Town Hall - September 12
1975
1965 1985
4 decades of happy times at the Scrolls
1995
APRAP June 2005
CONTENTS
ISC 2004 Grand Prize Winner: Gin Wigmore........................................3
Member Services..................................................................................4
From The Heart ....................................................................................6
Tuwhare................................................................................................6
Music Month.........................................................................................8
Tessarose...........................................................................................10
Willow Macky......................................................................................10
Chris Chetland....................................................................................11
Australian News..................................................................................12
SOUNZ...............................................................................................13
Pasifika Festival ..................................................................................14
Phil Fuemana, Karlos Quarter, Paul Hester.........................................15
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COVER PHOTO: GIN WIGMORE PHOTOGRAPHED BY SPID

ISC 2004 GRAND PRIZE WINNER: GIN WIGMORE
Virginia (‘Gin’) Wigmore’s astonishing win at the 2004 International
Songwriting Competition (ISC) shows the value of taking your chances when
opportunities beckon.
Gin heard about the ISC through her sister, (who discovered it through NZ
arts website ‘The Big Idea’). Rikki Morris, who’d produced and recorded Gin’s
demos, told her “it’s a long-shot, but you’ve got to be in to win.”
Never has a truer been word been
spoken. The 18 year-old beat over 11,000
entrants from 77 countries to take the ISC
Overall Grand Prize for her song
“Hallelujah”, receiving $40,000 (US) in
prizes. Gin also won the Teen Category
with her song “Angelfire”‚ and in July she’s
off to Boston to attend Berklee College
of Music’s Summer Performance Program.
When she received a call from the ISC
judges, director Candace Avery slyly first
advised her of her Teen category win. “I
had seen other New Zealanders on the
list of finalists and hoped a New Zealander
would win the Grand Prize, so I asked if
they could tell me who’d won. Candace
started talking to the other judges in the
room – they had me on speaker-phone –
I heard her saying ‘shall we tell her?’ and
Macy Gray laughing while everyone told
her to shut up. Then they told me I was
the Grand Prize winner!”
It’s a big accolade for one who was
unsure about devoting herself to a musical
career. In fact, her ISC Teen Category
winner “Angelfire” was the first song she’d
written, at the age of 14. She was
performing at open mic nights at The
Temple in Auckland while still attending Takapuna College – Finn Andrews from
The Vines was there at the same time. Around then Gin did her first recordings
with another Devonport local Rikki Morris. She had $150 to put 12 songs down
“to get them out of my system”, but Rikki was convinced Gin was a natural.
Describing herself as “dabbling in about
a million things” Gin went to Argentina for
her final year of high school, had a stint
working as PR assistant for Universal
Records on her return and then pursued
a BA at Victoria University. However the
biggest challenge to her songwriting was
the death of her father; Gin didn’t write
for a year afterwards. When she did write again, she produced “Hallelujah”
about her relationship with her Dad.
Writing has continued to be a personal, solo affair: “I always write in a quiet
place. The bathroom has got great acoustics, it’s the best place to write and
sing. We’ve got a tiny bathroom, an ensuite. I trundle my little stool in and sit
in front of the shower with my guitar and play. Friends come over and find me
in the bathroom with music spread everywhere round the sink and the shower!”
“We’re amazed at the consistently
high level of song-writing coming out
of New Zealand in the last few years.”
- Candace Avery, ISC director.
This domestic method recalls the practice of one of her favourite artists, David
Gray, who she admires for his “down to earth” quality: “He writes really nice
songs, keeps things simple. White Ladder was recorded in his bedroom - that
shows how simple it can get.”
By the time she entered the ISC last year, Gin was studying to become a high
school teacher at AUT. Not surprisingly, the win changed her plans: “now I’ve
won this award I want this to be my thing.
It’s given me the opportunity, the push,
to do it. Being a songwriter is such a hard
road, you’ve got to dedicate all your time
to it. You’ve got to surround yourself with
people who have faith in your work. The
ISC has done that for me in a big way.”
Gin is building up her support network.
When she flies to the US she’ll also be
meeting with music industry figures in
Nashville, New York and London: “I am a
bit wary of America, of the pressures. That
they’ll see me as a dollar sign. But my
mum is coming to Nashville with me. She’s
a business-minded woman, and calls a
spade a spade. So it’ll be good to have
her there.”
In the press release announcing the ISC
results, Candace Avery drew attention to
New Zealand’s musical success:
“Songwriters from 77 countries
participated in the 2004 competition, and
remarkably, New Zealand had winners in
four out of 16 categories. We’re amazed
at the consistently high level of songwriting
coming out of New Zealand in the
last few years.”*
Gin is insistent that NZ should be
listening to Avery: “The help I got from the NZ music industry was bugger-all.
Rikki Morris and I tried to get funding from Creative NZ - $2000 to do demos.
We tried with NZ On Air. Instead Rikki did the recordings out of the goodness
of his own heart. So many musicians struggle, and give up because they need
to pay their bills… We need more showcase
PHOTO: SPID
nights, more open mic nights, more scouts
out there. We need venues that are not
being ripped down and made into carparks
or apartment blocks… Now I’m more
inclined to take it overseas.”
Whether she stays offshore or not, it’s
clear Gin has ties that’ll keep her returning:
“I’d like to repay Rikki for all his help and do an album with him one day. There’s
still this view that nothing can be done as well in NZ as in the US or UK. It’d be
good if musos had the power to say ‘I want to do it here, come over here’.”
* All NZ finalists received placings or honourable mentions: Ruia Aperahama;
David Dallas, Malo Luafutu, Demetrius Savelio and Pete Wadams; Opetaia
Foa’i and Malcolm Smith; Derek Soloman.
Catherine Langabeer
APRAP June 2005
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APRAP June 2005
MEMBERSERVICES
SILVER SCROLL AWARDS
12 September 2005, Auckland Town Hall
Entries: A unique feature of our awards is that members
submit their own entries. All elected members of APRA are
able to enter their own songs/compositions for the Silver Scroll
Award, the Sounz Contemporary Award and the APRA Maioha
Award. Entry forms for each of these awards are enclosed in
this edition of APRAP. Check the entry conditions and due
dates carefully.
Invites: On average we host 400 people at our Silver Scroll
Awards evening, with the majority of guests being APRA
members. As we have considerably more members than seats,
our invitation system is based on royalty earnings. In recent
years, member invitations were extended to the top 800-900
earners from the previous 12 months and RSVPs accepted on
a ‘first come first serve’ basis. If you have been invited as a
member – your invitation will be posted to you several weeks
before the awards night.
If you have any questions about the awards, please contact
Petrina George.
APRA PROFESSIONAL
DEVELOPMENT AWARD
APRA NZ is to administer a Professional Development Award
for NZ members this year, independent from the Australian
program. A single award will be presented to the writer selected
as the winner. This award provides financial assistance for the
recipient to develop his/her composing and song writing career,
which could involve attending overseas music education courses,
song writing workshops, composer seminars, or other relevant
opportunities.
We will provide further information and call for written
submissions from members in August, with submissions due
in October. Information and updates will also be provided on
the APRA NZ website.
See page 12 for a story from Mia Dyson – 2004 PDA recipient
in the Australian program.
AMCOS WRITER MEMBERSHIP
Previously only music publishers were AMCOS members, but
AMCOS has now extended its membership to include individual
writers. If you become an AMCOS member, you will allow
AMCOS to administer your mechanical rights in New Zealand
and throughout the world, which includes the distribution of
mechanical royalties. The three main areas AMCOS administers
on behalf of its members are:
1. Mechanical rights (eg music reproduced to CDs)
2. Online/Digital/Ringtones
3. Synchronisation/Reproductions into film, TV, DVDs and
advertisements
Upcoming Due Dates
For Your Diary
31 July: Live Performance Returns
31 July: Jingle Reporting Forms
31 August: Electronic local Live Performance
Returns (Members Login Facility)
14 October: ASCAP International Awards
Programme
Other examples of reproductions of music include Caller Tunes,
and music videos broadcast on programmes such as Top of the
Pops and Coke Countdown. On the application form you specify
the sources that AMCOS will license and collect royalties
for you.
If your works are being reproduced, and you are not
represented by a music publisher, you should consider becoming
a writer member of AMCOS. Please contact us for the AMCOS
Writer membership information and application form.
APRA MUSIC GRANTS
A 2004 grants recipient was Waikato Institute of Technology –
APRA sponsored their award for Excellence in Composition in
their Commercial Music programme. Winning student David
Baxter was presented with
this award at the School of
Media Arts’ Special Awards
Ceremony. Having been
involved with this award
for a few years APRA
acknowledges the work by
the music students and
their tutors and hopes the
award encourages a
songwriter or composer to
develop their music career.
EXCELLENCE IN COMPOSITION AWARD WINNER
DAVID BAXTER (LEFT) AND SIMON WELLS,
COMMERCIAL MUSIC TUTOR
WEBSITE UPGRADE
Check out the Australian APRA website www.apra.com.au as
it has a brand new look and new features for members. The
APRA NZ website will also undergo an upgrade this year. If
you would like to provide any feedback regarding improvements
to the site – please forward your comments to Catherine
Langabeer: clangabeer@apra.com.au
ROYALTY PAYMENT UPDATE
Earlier payments: Our local APRA royalty distributions are
occurring earlier – with payments coming through in May and
November, rather than in June and December. This is going to
be the permanent timetable – so please make a note of this. If
your contact details or bank account details change, we generally
need the new details several weeks prior to a distribution. To
be safe, always contact us straight away if any of your details
change.
Electronic royalty statements: Initiated by member feedback,
electronic royalty statements were provided in the May 2005
distribution for the first time. If you have an email address on
file with us then you will automatically be provided with
electronic statements, and advised by email that a payment is
to be made. Electronic royalty statements can be accessed
through the Members’ Login Facility and will remain on file
for future access. If you would like to receive electronic royalty
statements – please ensure we have your correct email address
on file.
MEMBERS’ LOGIN FACILITY
If you need help with the Members’ Login Facility – to register
works or submit live returns – contact Rita Luck or Petrina
George for assistance. We have also created a step by step guide
– let us know if you’d like a guide
posted to you. This facility is
continuing to be improved,
including new features such as
electronic royalty statements.
This is an easy and convenient way
to keep up to date with APRA.
DAN TIPPETT
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PERFORMING LIVE? REPORTING
TO APRA?
We are aware that many members are not completing Live Performance
Returns (LPRs). If you perform your own compositions live in public
and you don’t submit a live return – you are missing out on royalties.
What you need to know about LPRs:
•You can submit paper returns – due 31 July each year; or submit
electronic live returns via our Members Login Facility – due 31
August each year.
• Local LPRs are completed for the APRA year of 1 July to 30 June.
• Royalties from LPRs submitted by the due dates will be paid in the
November royalty distribution.
• The main criteria for performances are that they are public – i.e.
at a public place and open to the public. Private performances,
such as weddings or birthdays, cannot be reported.
•You can submit LPRs throughout the year, or a single LPR for the
year – it is up to you.
• If you forget to submit a LPR for one or more years, you can complete
a backdated return – contact Rita Luck or Petrina George to confirm
this procedure.
• For overseas performances (outside NZ, Australia and the Pacific),
you need to submit an Overseas Live Performance Return – these
are due immediately after the performances.
To complete a Live Performance Return, you need the
following details:
1) The dates of your performances.
2) The details of where you performed – venue names and address
details.
3) A list of the works performed, including titles, writer details and
number of performances.
What about set lists? Set lists are needed when you perform at
concerts, festivals or events that are licensed as a promoted
performance by APRA and these are required straight after the
performance. Examples of such events are the Big Day Out,
international artist supports, and University Orientation gigs. The
promoter or event organiser should ask for your set list, but you
should also copy your set list to APRA. These performances should
not be reported on Live Performance Returns.
Regardless of the nature of the performance, please report the
details to us. If you are unsure what to do or if you need help, please
contact Member Services.
The awards were a fantastic celebration and the committee is
beginning preparations for the 2006 event. If you have any questions
about these awards, including eligibility for entries, please contact
Petrina George (member of the Pacific Music Awards Committee).
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PHOTOS: JASON HAILES
PACIFIC MUSIC AWARDS
Celebrating Pacific Music
Congratulations to the APRA members who won awards at the
inaugural Pacific Music Awards, held on 11 March. Opened by Prime
Minister Helen Clark, 7 music awards were presented, including 6
new Pacific Music Awards, and the New Zealand Music Award (Tui)
for Best Pacific Island Album. The awards were organised by the
Pacific Music Awards Committee, in partnership with RIANZ and
were supported by a number of organisations, including APRA.
Adding to the prestige of the awards were the beautiful new Pacific
Music awards. Designed by Colin Falefata, they literally shone on
the night.
The Pacific Music Awards Committee hopes the awards will raise
the profile of Pacific artists and Pacific music to the wider community,
and also inspire young artists and writers.
The results from the Pacific Music Awards are:
• Lifetime Achievement Award: Phil Fuemana
• APRA Best Pacific Song: Kas Futialo and Ian Seumanu for “Su’amalie”
• Niu FM Best Pacific Music Album: Ardijah for Journey
• C4 Best Pacific Female Artist: Sara-Jane Auva’a for “Sara-Jane”
• New Zealand Music Industry Commission Best Pacific Male Artist:
Tha Feelstyle for “Break it to Pieces”
• Radio 531PI Best Pacific Group: Adeaze for “Always & For Real”
• Niu FM Best Pacific Hip Hop Artist: Tha Feelstyle for “Break it
to Pieces”
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1 (L TO R) TONY FUEMANA, BROTHA D, CHRISTINA FUEMANA, REV. MUA
STRICKSON-PUA, PM HELEN CLARK 2-3 KAS FUTIALO (THA FEELSTYLE)
4 ADEAZE 5 SARA-JANE AUVA’A 6 ARDIJAH
Member Services Contact Details:
Petrina George (Manager – Member Services) Ph: (09) 379 0638 or
0800 69 2772 ext 209, Email: pgeorge@apra.com.au
Rita Luck (Member Services and Distribution) Ph: (09) 379 0638 or
0800 69 2772 ext 207, Email: rluck@apra.com.au
Catherine Langabeer (Communications and Events) Ph: (09) 379 0638
or 0800 69 2772 ext 210, Email: clangabeer@apra.com.au
Member Services email: nz@apra.com.au
APRAP June 2005
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Ask Lisa Nimmo and Shelley Hirini from
‘Pearl’ how they met and their answer will
surprise you: “we were both seeing the same
shrink!” For these sassy Wellington
songwriters, their unexpected meeting has
dramatically changed the course of their
lives. For this edition of ‘From the Heart’
we have asked them to share their journey
so far with us.
Geoff Maddock (Goldenhorse)
Charlotte Yates was surprised by Geoff’s choice of ‘O Africa’. She explains
this was: “partly because of its brevity – it’s the shortest poem on the
album – and partly because of its utter bleakness. Co-writer Kirsten
Morrell also apparently had some qualms initially, but the resulting
track is evidence enough. That’s how the process works really – if the
composers feel a good match with the poem, then the setting will reflect
them and their sound authentically.”
Says Geoff: “I had one book of poetry by Hone Tuwhare, called No
Ordinary Sun. It was a book of his early poems, all published in the ‘60s,
and ‘O Africa’ just leapt straight out at me. One of the most appealing
things about it was its brevity, just 9 lines. Great. The next was the
imagery, simple and vivid, with dark reds and blacks. I realised that it
would sing well, and I liked it.
“I love using someone else’s lyrics, it means I don’t have to write any
and have to come up with themes and images that just bleed me!
Working on ‘O Africa’ was very freeing, it made me realise I could profit
from a different songwriting process, where I come up with the words
all first and don’t let myself deal with the music until the words are as
finished as they can be.”
“Some might say we left our run a little
late – it took us until our 30’s to muster
up the courage and belief in ourselves to
pursue the careers we have secretly always
wanted – to entertain people with our music.
At the time we were individually seeing a
life coach who, after identifying that we
both had a passion for music, suggested
that we hook up. And the rest is history.
We formed ‘Pearl’ at the beginning of 2003
and Wellington musician Chris Jones joined
us shortly after to complete the trio.
With all three of us being songwriters and
with a few years of life experience to
write about, there is never a shortage of
new material to work with. Our sound is
based on the fusion of two lead female
vocals and produced to reflect who we truly
are – people who have faced enough of life’s
challenges to know that each one of them
makes you better and stronger. The result
is reflective moody verses wrapped in hooky,
driving uplifting choruses.
APRAP June 2005
Our songs have been described as
sophisticated, fun and laced with optimism,
a bit like us really!!”
Pearl’s debut single “Fallacy”, is evidence
of their fresh approach to the pop genre.
You can currently download “Fallacy” free
from their website www.pearlband.com
Their debut album is planned for release
in December this year.
Whirimako Black
Whirimako was working with New York-born, Aucklandbased
composer and pianist Jonathan Besser – “exploring
my tones, notes and range with a good pianist” – when she
started on her song for Tuwhare: “I picked a poem – ‘Spring
Song’ – and I’d started a piece of music. I knew the man
with the chords was the man who played the grand piano
so I asked Jonathan to compose with me.”
“As I went through the poem with Jonathan I sensed
something awful had happened to Tuwhare in spring. It was
a very dark moment for him but felt I could express it and
would try and resolve it in my tones as well. It starts quiet
and gentle and works its way up till it’s full and gets its
‘internals’ out. I also couldn’t help myself but translate the
poem’s title into Maori, and open the song that way.”
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PHOTO: ROBERT CATTO/WWW.CATTO.CO.NZ
Mina Ripia (WAI)
“We originally wanted ‘Rain’, because our group
name is WAI, but Don McGlashan had already chosen
it. I’d never heard of Tuwhare until Charlotte gave
us this opportunity. It was a challenge because it
was in te reo Pakeha and we had to make English
words sound WAI-styley… We spent a lot of time
working on the poem ‘On a theme by Hone Taiapa’,
breaking down each line. I would give my whakaaro
and Maaka would give his interpretation. It’s a carver
asking a poet: “what do you do with your waste
words?” Like the music you don’t use as a musician
– it was related to our journey.”
MINA PERFORMING AT THE TUWHARE LAUNCH
May saw the release of Tuwhare – an album of Hone Tuwhare’s poems
made into songs. Charlotte Yates – who’d done the same thing with James
K Baxter’s poems in 2000 – directed the Tuwhare project for Toi Maori
Aotearoa. For Tuwhare, Charlotte wanted to capture both the diversity in
Tuwhare’s work, and the diversity of sounds in NZ music:
“All the artists involved have a pretty comprehensive recording and live
performance background. I also looked at each artist’s previous work to get
a feel for which type of poem they might select to highlight the breadth of
Hone Tuwhare’s work – first published in 1964, Hone has produced some
14 anthologies. The direction given was for each artist to select their own
poem – there was pretty much a ‘first come first serve’ policy on selection.
Hone was very generous about what we could do, there was a lovely lack of
‘preciousness’ from him. Artists could use extracts or complete texts and
had control over the production of their work with a proviso to liaise with
me before a ‘sign off’.”
Herself a contributor to the album, Charlotte was well aware of the unique
challenges that “musical anthologies” like Tuwhare present: “in these
projects, the words are standing in front of you: that’s a very different place
to starting writing music from… I think the hardest part of this style of project
for people is finding a poem that suits them.”
Tuwhare artists will perform a number of concerts including at the NZ
International Festival of the Arts in March 2006. Check www.charlotteyates.com
for details.
Charlotte Yates
“I chose a poem called ‘Mad’ that I first found in Deep River
Talk, a 1993 anthology. It is a compelling poem about someone
waiting for their lover to arrive, describing the rush of feelings
that that produces and shaking their head at it. I liked the
images, the language and that I would sing it about a woman.
I liked that the poem starts so calmly and ends in a right state,
with a chuckle almost.”
L TO R: CHARLOTTE YATES, WHIRIMAKO BLACK, MINA RIPIA, DEAN HAPETA DISCUSSING
TUWHARE AT PAO!PAO!PAO!
PHOTO: SOUNZ
Dean Hapeta (Te Kupu)
Dean’s choice of poem surprised Charlotte for the completely
opposite reason to Geoff’s choice: it was 2 and half pages
long! Dean was also the only artist who did absolutely
everything on his own. He wrote, played (including the
saxophone), produced and mixed it.
“I first met Hone at the 2003 Wellington International
Poetry Festival and I felt able to do it because I’d met him. I
hadn’t read anything by him before that. I thought I would
do something different, like a love poem, but in the end I
came back to something more onto it for me. ‘Speak to me,
brother’ is talking about war, about Maori, about wanting to
have a deep discussion when discussions don’t usually get
that deep. He was talking about Vietnam, but it’s still the
same situation. I was five when the poem was written, but
it’s still relevant. It fitted with me.”
TE KUPU PERFORMING AT THE TUWHARE LAUNCH
APRAP June 2005
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PHOTO: ROBERT CATTO/WWW.CATTO.CO.NZ

1 2 3
Music Month 2005 - with the Black poster and T-shirt - got off to a rocket-fuelled
start with the live Shihad concert in Aotea Square. Despite the rain, around eight
thousand rocked while Jon and co. tore up the stage. The concert, beautifully
filmed and replayed on C4, was the best-possible start to the best ever
Music Month.
There was lots more television including TV2’s first ever Song Star, masterminded
by Mike Chunn, where the public saw five unknown songwriters selected
and their songs performed live and voted for on television. The winner was
Lachlan Taingahue from Gisborne who’s track “I’ll keep on Rapping” was
produced by Nate D from the Dawn Raid studios.
Other highlights included the annual RBA NZ Music Showcase in Auckland,
tours by the D4, the Fanatics, Katchafire, Goodnight Nurse, 48 May, Emerald and
others and the Hallensteins T-shirts selling out nationwide.
Steriogram played Parliament steps to bemused MPs while in Britain The
Checks did the NME New Music tour and in LA Goldenhorse and Evermore
appeared at heavyweight industry conference Musexpo.
Chartwise, Fat Freddy’s and Savage topped the album and singles charts
respectively and radio airplay was massive.
There were also seminars, Pao!Pao!Pao! in Wellington, a youth music forum
at Tai Poutini in Greymouth - including killer performances by local bands Puha
and Kortion - and countless other locally-generated activities. We hope you got
involved in some of them.
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APRAP June 2005
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MUSIC MONTH
PHOTOS: 1 – 9 AND MAIN PHOTO: JASON HAILES, 10: SOUNZ, 11: DEBBIE LITTLE, 12 – 13: POS MAVAEGA 14 – 16: ARTHUR BAYSTING, 17: REBEKA
1-3 SHIHAD 4-9 THE RBA NZ MUSIC SHOWCASE: PLUTO; SJD; MCS CAMILLE GUZWELL AND MIKE PURU; ANIKA MOA; GRAMSCI; FRONTLINE 10 TONI HUATA AT PAO!PAO!PAO! 11 SONG STAR AND WINNER LACHLAN TAINGAHUE
12-13 POLYPHUSION SHOWCASE ‘LIVE’ IN CHRISTCHURCH: THE BROFESSIONALS; TAOS 14-16 TAI POUTINI FORUM, GREYMOUTH: PUHA (14 – 15); KORTION 17 THE WAH SELECTAH LINE-UP IN AUCKLAND
MAIN PHOTO THE NZ MUSIC MONTH LAUNCH CROWD
8 9 10
13 14 15 16 17
APRAP June 2005
9

Tessarose is a successful small business in the niche market of preschool
children’s music. Co-owners Tessa Grigg and Brian Ringrose
started with one album about 15 years ago and now have 18 Tessarose
retail albums, 20 franchise albums and have collated several albums
for other people. Sales are well over 250,000 units – that’s the equivalent
of over 16 platinum albums in as many years!
Incredibly, Tessarose is an entirely in-house production. Based in
Christchurch, Brian and Tessa record the songs, manufacture, market
and distribute the CDs in Australasia and beyond – including to
Singapore, Hong Kong, Korea, Finland, Dubai, England and the USA.
They compose many of their own songs (over 150 songs) and license
the rest through AMCOS or direct: “Without the help and advice of
APRA we would certainly have got into trouble
over several legal matters – mainly through
ignorance. In the early days we ended up making
a visit to APRA in Auckland and from that point
have enjoyed a great relationship.”
Here Brian Ringrose shares some of their
business experiences from along the way:
“When our business first started we were full
of good ideas and perceived ideas about how
the market worked from my experience of 30
travel and accommodation costs were around $1000 and we grossed
something like $8000 – we then realised that people had to hear and
see the music being used by the end user (the children and
caregivers/teachers) to make up their mind to purchase. For that was
the marketing dilemma: the end user – the child – was not the purchaser.
We needed to get these adults to like the music so that they would buy
for their children. We also quickly found that children’s music in
general was not purchased through record shops but specialty
education stores.
“I was adamant that every CD/cassette we sold should have a very
obvious name plate so that anybody who heard our music would know
how to contact us. Every tape/CD is a business card. This has been the
one substantial factor that has created our
overseas sales and given us exposure to
customers in places we have never heard of.
We usually approach these customers as a lead
to their area and away we go. In recent years
we have spent quite a bit of our efforts directing
people to our website. This has taken a while
to catch on but is starting to show returns. Our
trips to the USA and Australia usually give good
net activity for some time after the visit.”
odd years at that point in the pop and general
Brian also attributes Tessarose’s success to
(L TO R): BRIAN RINGROSE AND SAMUEL, COLIN THE KIWI, JEANNA
music business.” (Brian was in The Invaders RODGERS AND CASSANDRA, TESSA GRIGG.
their focus on making a quality product. Through
with Ray Columbus, worked for 15 years as a
Tessa Grigg’s background in early childhood
session musician for TVNZ in Christchurch, wrote jingles for Radio education and her involvement with GymbaROO – an Australian-based
Otago and has helped produce and record many young artists – including movement and music-based programme – Tessarose’s music is created
Kylie Harris).
specifically with children’s developmental needs in mind. This means
“We found quite quickly that we have a very isolated market. In fact songs are simple, repetitive and slow enough to allow for the young
we knew exactly how big it was – the Department of Statistics can tell listeners to understand and then respond to. They are also recorded
you each year how many babies are born – add a few years and you at a higher pitch, as this is what children respond to best!
know the size of the NZ market. We tried all sorts of marketing ideas: “We have focused on quality music from an arrangement,
direct mail; magazine advertising; TV; radio; and live performance. We instrumentation and vocals point of view. We consider why we are
joined Canterbury Business Grow and even had a mentor.
making this music and what is it designed to achieve more than how
“A big let-down for us was advertising in a major magazine. It cost much money can we make. If the product is good and you are having
over $2000 and we got about 10 sales. We then organized to do some fun the funds take care of themselves.”
live workshops for parents and children in Hamilton over 3 days. Our www.tessarose.co.nz
Willow Macky
APRAP June 2005
10
Now in her ’80s, Willow Macky is one of New Zealand’s great, but largely
unheralded songwriters. It would be unusual to have attended an end of year
school assembly in New Zealand in the last 40 years and not have sung her
work “Te Harinui – A New Zealand Carol”. Of her prodigious output of over 113
songs and 92 lyrics, Willow wrote mostly folk songs, even a folk opera called
The Maori Flute.
She is a strong exponent of writing about local experiences, history, people
and places, including Maori legend and tradition. In fact the reason she started
writing songs was because while she had collected many folksongs from
around the world, she couldn’t find any about Auckland. This led to “Waitemata
Harbour”, and later “Tamaki Moonlight”. Singing about her own city seems to
have received a mixed reaction – in interview in 1994 she remembered people
laughing when she sang the line “I love to go down to old Mission Bay” in
“Tamaki Moonlight” because of the strangeness of hearing a local place
mentioned in a ballad.
One of Willow’s ‘breaks’ was meeting Swedish-American balladeer William
Clauson on his visit to NZ in 1959. He was looking for local works, and recorded
five of Willow’s songs, including one she wrote specially set to a melody he
particularly liked – it was a tradition for each country he visited to supply
different words to the same tune.
The great bass singer Inia Te Wiata praised Willow’s songs as “the only New
Zealand composer besides Alfred Hill who can capture the authentic Maori
atmosphere.” Willow’s career spans the time when issues of cultural
representation were coming to the fore. By 1990 she had revised her 1964
composition “Waitangi Anthem”, because she found
“as time went on I began to realise that the words
of the anthem did not adequately reflect, in
these changing times, the feelings of the
Maori community about the Treaty.”
Willow’s life and work are a valuable part
of the story of New Zealand music. As Willow
observed over 40 years ago “we have
something to sing about – a land as
beautiful, interesting and worthy as any
other… we wish to pay [New Zealand]
a tribute which is long overdue and
give pleasure to our people and
all others who wish to hear.”

APRAP talks to Chris Chetland about his work as head of Kog
Transmissions and one half of breaks duo Baitercell and
Schumacher.
“We just wanted to play in the studio with bass”. A master of
understatement, this is how Chris describes the formation of
internationally successful Baitercell (Chetland) and Schumacher
(Timmy Schumacher). Such understatement
extends to Kog Transmission’s recent successes
in the arena of ad production: “things fall into
your lap to a certain extent.”
Having been through a series of shifts in
personnel and focus since its establishment in
1997, Kog Transmissions now operates as a
production facility. With Chris joined by John
Chong-Nee, Dave Baxter, Dave Holmes (of Venn
productions) and Mike Carpinter (promotion) it
produces albums (recently Gramsci and
Autozamm), masters recordings (including Savage
and Tourettes), and produces music for
advertisements and TV (such as Nokia Calimero
(Asia), Guinness (Asia), Coke New Releases (TV
2), Coast Theme (Maori TV) and Burger King).
Chris’ production and mastering skills also mean
that Kog informally serves as a training ground
for new producers.
Chris sees creative value in commercial composition work: “the
good thing about doing an ad is that people come to you, and request
reggae or hip hop, and you have to step out of your comfort zone
and get a whole new style… commercial work gives you a lot more
intellectual freedom, like learning a new language and ending up
with a whole new vocabulary.”
He also suggests that “in another sense you could say my
commercial work is my art. Look at the KLF - the greatest band of
all time. They’re art theorists who operate within the commercial
world. Their book The Manual (how to have a number one the easy
way) is the most important book about the music industry.”
Commercial work as art, art as commercial work, Chris reveals
“we used ‘the rules’ for “Lay It Down”, which got to #1 on the Alt
Charts for last year. All done using their systems.” “Lay It Down”
has also been released in the US by DJ Icey – America’s biggest
breaks DJ.
The KLF ‘systems’ involve “looking at basic structures. It’s just
knowing what’s going on at a particular time, music-wise. You need
to have good hooks or words that you can remember after one
listening. Kylie, Spice Girls, Abba, Soundgarden had these hooks,
these elements. Such music is just as much an art statement; you’re
just approaching art in another way.” Hooks and words
notwithstanding, Chris maintains that the “imperfections in the mix
are the most important part.”
But it requires a great deal of skill for imperfections to ‘work’.
Chris asserts that to become a good producer “you must spend all
your time, every waking moment that you can get away with on it.
10 hours a day, 6 or 7 days a week. I question whether you could
become a really good producer if you go into a commercial job. You
are going to be constrained to do specific things.”
Timmy Schumacher agrees about the value of the non-commercial
and non-institutional path: “it’s like what David
Mamet said about acting schools: they are institutions
with a set of rules and a set of expectations about
what you can turn out as.” Having trained in acting
at South Seas, Timmy has “done institutions”: “they
are good for young people – they’re there to inspire
you. But I’m a big proponent of teaching yourself in
a way you can understand. That’s the cool thing
about production: you can buy a $3,000 PC and you’re
there. DJ Ali has made beats on a PC with a
SoundBlaster Sound Card – the shittiest sound card
you can get, but it sounds great. The ethos is to do
with how much work you put into it and where you’re
coming from. My one year on Logic has been good,
but my 14-15 years as a DJ is valuable experience
as well.”
Getting Logic down in one year is no mean feat,
as Timmy explains: “Logic is translated from German.
It’s like finding a needle in a haystack if you want to do one simple
thing. Normally to learn Logic off the bat would take a couple of
years – at least – to learn it as well as, say, Paddy from Pitch Black.
But Chris is really well-versed in Logic. He has used the programme
for many, many years and knows all the shortcuts and tricks. With
Chris I learnt what I needed to in a year. He’s also got a really great
way of describing things. For a person who’s an academic [Chris
did a Masters in non Darwinian evolutionary theory] he’s able to
strip things back to a laughably simple form of explanation.”
In Chris’s opinion, being a producer is “all about working with
people and taking things from them. You are as much a social
worker/mum/dad/brother/sister as a producer. You need to be sure
you can get the best from them. You need focus but also the ability
to let go. Training others, Chris sees himself as a facilitator: “you’re
looking at potentialities… they need to be working on their own stuff,
they’ve got to create their own adventure.”
Chris’s own next adventure is a trip to Australia, Europe and the
US to work with some “big mastering engineers”, train up in “southern
style hip hop, particularly crunk, and learn some tricks for RnB”. He’ll
also be “shopping beats”, confident that between him, Timmy
Schumacher, John Chong-Nee and Dave Baxter they have a broad
range to offer. In terms of international export, he notes that “it
depends what you are trying to export: artists, beats, or advertising.
Different environments have different sets of rule to work in.”
Fortunately, juggling different systems seems to be Chris’ specialty.
www.kog.co.nz
All member profiles by Catherine Langabeer
APRAP June 2005
11

AUSTRALIAN NEWS…
US-AUSTRALIA FREE TRADE AGREEMENT (FTA)
INCREASES COPYRIGHT DURATION
From 1 January 2005, all musical works, lyrics and sound recordings
that are still in copyright on 1 January 2005 will benefit from an
extra 20 years protection in Australia. Therefore, the basic duration
for copyright works is until 70 years after the end of the year in
which the author died.
For example, if a composer died in 1954, copyright
on the works that were published during his or her
life will expire on 31 December 2004. Under the Act
there is no revival of copyright, so all works that fell
into the public domain on 31 December 2004 will
stay public domain.
If the work has not been published during the
lifetime of the author, the copyright protection applies
for 70 years from the first publication or broadcast
of the work. There are also different rules for works
first published anonymously or pseudonymously or
if it is made or first published by the government.
A song comprises a musical work and a separate literary work
(the lyrics). The duration of each component depends separately
on the life of the composer and the lyricist. Where a work is written
jointly, so that the contribution of each author cannot be separated
from that of the other, the death of the last (known) surviving author
is used to work out duration.
There is also a separate copyright in the sound recording of a
song, usually owned by a record company. Its duration is now 70
years after first publication of the sound recording. It is indefinite
if unpublished. Copyright in a sound recording first published in
1954 will have become public domain on 31 December 2004 (the
copyright in the underlying works on the record may still be
protected). There is no revival; therefore the 70 year
rule will only apply to sound recordings first published
in 1955 onwards. Interestingly, the duration of
copyright in sound recordings in the EU has remained
at 50 years from publication.
For print music, the separate copyright in the
typographical arrangement, the “published edition”
remains at 25 years after publication.
All these rules apply on a national treatment basis.
This means that works by authors from, or copyright
materials first published in, countries that are
signatories to the copyright conventions will benefit
from the new rules of duration. The old rules of life
plus 50 still apply in New Zealand and other APRA territories.
There are significant benefits in harmonising the term of copyright
protection with our major trading partners. Our rights will benefit
from extended protection in those countries and it will help users
here obtain clearances for use of copyright material internationally.
A detailed information sheet (G23), is available from the Copyright
Council’s website: www.copyright.org.au
Scot Morris, Director of International Relations, APRA
PHOTO: BRIDGET ELLIOT
MIA DYSON: 2004 PROFESSIONAL DEVELOPMENT
AWARD RECIPIENT
APRAP June 2005
12
“I arrived in Toronto at dusk, in the middle of the northern summer
of 2004, after six months planning for my first overseas ‘tour’. It
was a jumble of ideas and possibilities until I found out in January
2004 that APRA would support me with a Professional Development
Award, making the trip an exciting reality.
“I set out to play as many gigs as I could in the two weeks I was
there. I’d already been invited to play at the North by North East
music conference in Toronto and the Vancouver Island folk festival
but I’d made a lot more contacts via musicians and the internet
and so I performed at many open mic nights, supports for some
Canadian artists and even at a recording session for a group of
aspiring sound engineers. Through a chain of gigs that led me from
an open mic night to a support for a wonderful Toronto-based folk
singer to a rock gig at the El Macombo, I got to play on the same
stage where Stevie Ray Vaughn had made his landmark Live at the
El Macombo video many years earlier.
“In July I headed to London and straight up the M1 to the
Stockton Riverside festival, for my first experience of the English
countryside – foggy, windy, rainy (mid summer). They were a
couple of strange gigs and the locals didn’t know what to make of
this Australian roots singer (they laughed at the word roots…)
“The Edinburgh Festival had to be the most exciting part of the
trip. I had two dates at the stunning Spiegeltent plus a few promo
gigs on a huge open-air stage below the famous castle. The
atmosphere was incredible and the audiences there seemed to
embrace me more than in Stockton. I had a couple of showcase
gigs in London between shows so I spent a lot of time driving up
and down the M1. The showcase gigs did the job and I got to play
in front of some of the labels I’d been interested in and some folks
from the London music media.
“The PDA has given me a great start to setting up an international
career in music – it was an amazing experience to travel and perform
in new places. Arriving home I got stuck into work on my new
album. Titled Parking Lots, it has just been released in Australia
and due to the interest I received from some labels while showcasing
in London and Toronto, looks sets to be released overseas in 2006.
“Thank you APRA for your enormous support and
encouragement!”

New Zealand’s Bio and Musical diversity celebrated
in California
It is a little known fact that the largest collection of New Zealand
plants outside of this country is to be found in the Ed Landels
New Zealand Garden of the Arboretum at the University of
California, Santa Cruz, USA.
May 15 was declared ‘New Zealand Day’ there and in a
collaboration between NZ composer Jack Body, the New Music
Works performance ensemble from the USA and the Arboretum
at UCSC a celebration of the ‘Culture, Music, & Botanical Diversity
of New Zealand’ was held. Throughout the afternoon and evening
visitors wandering in the NZ Garden heard recordings of New
Zealand birdsong as well as Glass Music (Douglas Lilburn) and
Aeolian Harp Sounds (Chris Cree Brown) among the plantings.
Richard Nunns informed visitors of the use of indigenous plants
for medicine and food before joining the Arboretum Choir, New
Music Works, Hera Black-Taute and Mareta Taute in a performance
entitled Encounters with Indigenous Aotearoa! The programme
included a karanga and waiata, and works by David Farquhar,
Gillian Whitehead, Philip Brownlee and Jack Body, several
involving Richard Nunns on taonga püoro. Following a hangi and
New Zealand wine, patrons experienced a concert of film and
electro-acoustic work called Confronting Inscapes / Landscapes.
Works included The Return by Douglas Lilburn, City Respirations
by Matthew Lambourn, Mosaic (Water) by Ross Harris, Soundscape
with Lake and River by Douglas Lilburn, Say, by John Cousins, a
finalist in the 2004 SOUNZ Contemporary Award, and Generation,
David Downes’ award-winning experimental film.
Voices of taonga püoro gathering in strength
After decades of being barely audible the voices of taonga püoro
are gathering in strength and resonance. Richard Nunns together
with instrument maker Brian Flintoff and the late Hirini Melbourne
spent much of the last 30 years travelling the length of New Zealand
talking to elders about traditional ways of Maori music making.
Through expert craftsmanship and musicianship they gave breath
to over 90 voices that hadn’t been heard for generations, and
dispelled the notion that there were few if any traditional Maori
instruments. Richard’s involvement in the Santa Cruz NZ Day was
part of a ‘world tour’ for taonga püoro! During May he also visited
several major centres in Germany and included a visit to Poland
as the guest of the Polish Institute of Ethnology. In November /
December he will join the New Zealand String Quartet on one of
their North American tours which will also include performances
of Hine-pü-te-hue by Gillian Whitehead for taonga püoro and
string quartet.
Here in New Zealand, a ten day conference - Kei Kona Te Ha
Me Te Wairua - There the Breath with the Spirit - was held in
Rotorua in March and Concert FM has also launched a new radio
series called He Ara Püoro (A Pathway of Song) comprising a
series of audio portraits of taonga püoro, each about eight minutes
long. The series is being broadcast nation-wide on weekdays just
after the news at midday and at 5:00 pm.
New Zealand Music Month
New Zealand Music Month 2005 has come and gone. The SOUNZ
website listed some 45 events in ‘contemporary classical’ music
for May - many of them with multiple performances and including
18 world premieres! The month really started with a kick with six
premieres in the first week.
Sneaking in on the eve of NZ Music Month, Maria Grenfell’s
Hutia te rito o te harakeke helped officially launch MENZA (Music
Education New Zealand Aotearoa). On the following day the New
Zealand String Quartet gave the world premiere of John Psathas’
new work, Kartsigar. A commission from the Wellington Chamber
Music Society in honour of their 60th Anniversary year the piece
is based on transcriptions of traditional improvisation-based Greek
music and incorporates a
wonderful and exciting blend of
Greek traditional, jazz and
contemporary classical elements.
On the same day, southward in
Wanaka, the inaugural Festival of
Colour wound up with concerts
in the afternoon and evening.
1
Pianist Michael Houstoun
presented a ‘Home’ concert
playing works by Douglas Lilburn,
Michael Norris, John Psathas and
the premiere of Kenneth Young’s
Five Pieces for piano. In the
evening, a concert by the Central
Otago Regional Choir and Central
2
Otago Regional Orchestra
presented the world premiere of
Rachel Clement’s Taking Off. This
work was a SOUNZ Community
Commission, an annual project
managed through SOUNZ, in
which professional composers and
community groups are brought
together. Wanaka’s own Hannah
Curwood also had a world
premiere at the concert with a
choral work called High Country.
3
The celebration of New Zealand
music exemplified in NZ Music
Month was also expressed superbly in an extraordinary concert
in Wellington on Friday 6 May. The NZSO performed a Made in
NZ programme to a highly appreciative and diverse audience in
the Wellington Town Hall. The programme comprised of Vulcan
by John Rimmer, Maria Grenfell’s flute concerto Maui Tikitiki A
Taranga (played with considerable authority by Bridget Douglas),
the iconic Harbour Nocturne by Larry Pruden, Michael Norris’
2004 Lilburn Prize-winning piece Rays of the Sun, Shards of the
Moon and the self-conducted premiere performance of Kenneth
Young’s Second Symphony. By turns these works revealed not
only what fine musicians and composers this country is nurturing,
but also just how far NZ music has come in the last few decades.
Centre for NZ Music (trading as SOUNZ)
PO Box 10042, Wellington, NZ.
Street address: Level 1, 39 Cambridge Terrace
Phone: 64-4-801 8602, Fax: 64-4-801 8604
Email: info@sounz.org.nz Website: www.sounz.org.nz
1 THE NEW ZEALAND STRING QUARTET, (FROM LEFT, STANDING) HELENE POHL, DOUGLAS BEILMAN, GILLIAN
ANSELL (OBSCURED) AND ROLF GJELSTEN INVITED COMPOSER JOHN PSATHAS TO INTRODUCE HIS NEW
WORK KARTSIGAR. THE WORK, COMMISSIONED BY THE WELLINGTON CHAMBER MUSIC SOCIETY IN CELEBRATION
OF THEIR 60TH ANNIVERSARY YEAR, WAS ONE OF FIVE WORLD PREMIERES OF NEW ZEALAND MUSIC HELD
IN JUST THE FIRST WEEKEND OF NEW ZEALAND MUSIC MONTH 2005. 2 NZ COMPOSERS IN A NZ GARDEN
IN THE USA! NZ DAY IN SANTA CRUZ. 3 RICHARD NUNNS – PERFORMER AND PROTAGONIST FOR TAONGA
PÜORO. CREATED IN NZ, HEARD AROUND THE WORLD!
APRAP June 2005
13

1 2 3
PHOTOS: PETRINA GEORGE, MATA GEORGE AND CATHERINE LANGABEER
The unusually mild weather on the festival
day seemed to contribute to the surge in
numbers who attended this year, with
official reports saying 220,000 – almost
unbelievable for the size of the park. The
management of this vast crowd is a
fantastic achievement for the festival
production team.
APRA and the NZ Music Industry
Commission co-hosted a performance
stage and information tent for the second
time on the festival day. The stage has
developed a solid following and performers
say it’s a favourite on the day. The stage
pumped out 8 hours of live original NZ
music by Pacific artists – attracting huge
crowds all day. An enormous thank you
goes out to all our amazing performers.
Thanks also to Spencer Fairhurst and the
sound crew from Mainz, our MCs D
Kamali, Rev Mua Strickson-Pua and
Mikhal Norriss – and to everyone who
came to enjoy the talent on stage.
Two groups stood out for their youthful
energy and passionate performances.
They were Higher Learning, a group of
twenty plus members who travelled all
the way from Gisborne, whose
performance included an impassioned
haka; and Spacifix a 10 strong group which
included vocalists, a band and dancers –
and whose announcement resulted in
deafening screams from their fans. Check
our photos for a glimpse of the day.
Petrina George
4 5 6
7 8 9
10 11 12 13
1-3 SPACIFIX 4 QUE 5 SARA-JANE AUVA’A AND
PERFORMERS 6 SAVAGE POETS 7 EPR 8 D KAMALI
9 LADI 6 & PARKS 10 THE OTHERS 11-12 PETA AND
HAMOKANE FROM D1 ENTERTAINMENT 13 WAIRERE
14 THE WANDERERS 15 NATASHA URALE-BAKER
16 TRIBALINCS 17-19 HIGHER LEARNING
14
15 16
APRAP June 2005
14 17 18 19

OBITUARY OBITUARY OBITUARY
PHIL FUEMANA (1964 – 2005)
A sister’s love for her brother.
Phil was a huge part of my life and life will never be the same without him.
He was such an unmaterialistic and unselfish man and was an amazing brother,
who spoilt us all – every day was Christmas when he was around. I will never
forget his kindness and generosity but more so the gift of sharing with Phil
about life in general. Phil was incredibly talented and mastered a particular
“PHAT” sound. He was an articulate man of perfection, with his unforgettable
wit and intellect. He was such a soft spoken man with a lot of respect for
people who would go the extra mile to achieve their goals, never forgetting
who they were and where they came from. FAMILY was so important to Phil
and each day he made us all feel so special. Phil sacrificed so many things
in order to do what he loved the most, and I am so grateful to all the people
who paid tribute and acknowledged my brother’s life and work. He was a big
man with a big heart who has certainly left a huge gap in our hearts. I love
him dearly and will miss him for the rest of my life.
Christina (Tin) Fuemana
I first met Phil in 1994, the year “We Are the OMC” was a finalist for the Silver
Scroll Award. Written with his brother Paul, this was the first Pacific hip hop
track to be a finalist – an early example of Phil leading the way. Phil created
fantastic music with many Pacific and Maori artists and we kept in contact
over the years through our work. He inspired and influenced so many and I
hope they will continue to fulfil his vision and dreams.
Phil - you are the true Pacifikan Pioneer and you are missed. Your friend,
Petrina George
How do I sum up how it feels to lose my dear friend Phil Fuemana. We first
met in April of ‘86, and the musical and spiritual connection was instant. I
remember long drives across the country to gigs, singing along to Luther
KARLOS QUARTER (1971 – 2005)
PHOTO: PETRINA GEORGE
Karlos was an awesome friend and fellow muso of
mine who always had a great attitude towards people
and music. He brought a lot of fun and happiness with
his personality and had a spirit that was full of life ..U
left us suddenly my friend. We all miss you heaps
bro..R.I.P..your friend... D.Kamali
Karlos Quarter Our Mate:
Karlos Quarter was an amazing person, artist, and
friend. An artist who respected others and encouraged many of us to
keep true to our art forms and ourselves. Karlos was such a positive
person thus we all wanted him around us during our tough projects.
Karlos thank you for having faith in us. Always encouraging us to move
forward and believe in ourselves. Expressing your Pasifikan beauty from
PAUL HESTER (1959 – 2005)
Vandross, Alexander O’Neal & Stevie Wonder. Talking about our favorite
records, songwriting, relationships, God, and the future. We dreamed together,
laughed together, we even cried together. Phillip loved music. He had no time
for the politics of music. He didn’t care about award ceremonies or what the
press thought. His passion was always about giving fresh young talent a legup
and making sure that they were educated about the realities and pitfalls
of the music ‘business’. He didn’t give a damn about the colour of skin. He
was & always will be my inspiration, my closest musical partner, my best friend,
my brother. He’s a beautiful man and I miss him. I look forward to meeting him
for a jam beside God’s piano on the other side. Love you Phlipsyde.
Matt Ruys
My whanau moved from
Tauranga to Akarana, myself to
be working with Phil. It all hit home
when he said to me “where you
are bro, I was 10 years ago – it’s
my responsibility to help make
your dreams reality, if I don’t... I
fail, I need to make you into Maori
version of P Money & Funkmaster HONE NGATA’S JACKET FEATURES HIS OWN ARTWORK:
A TRIBUTE TO PHIL
Flex”. Phil was producing and
mentoring me and I was helping him rediscover his Taha Maori, his Maori roots.
Phil’s recent projects included establishing his new label ‘Gifted and Maori’. With
two albums completed and the 2nd issue a double CD, Phil exposed over 25
new Maori recording artists to Te Ao Waiata - The World of Music. Many of us
will bear the fruits of his labours in future and aim to carry Aotearoa Music, Maori
Music to the next level. Gifted and Maori without a doubt.
Hone Ngata, aka DJ Poroufessor
within for others to be included and blessed. Karlos the person he was
our mate. Karlos the musician he was a visionary. Manuia le malaga.
Rev. Mua Strickson-Pua
Karlos introduced himself with an impression I will never forget “Kiaorana
sis I’m Karlos, Karlos with a K”.
A brother always down for a jam, his nature sweet and subtle like a
blanket over my soul and a warmth that covered the whole of Aotearoa.
I last saw Karlos at the Raglan Reggae Fest. We had a sweetcorn stall.
Karlos waited a whole night and day for my fry bread and because of
that I made the puffiest fry bread ever. He gave aroha and in return the
love was passed on through.
Rest in peace Karlos, we all love and miss you.
Your wairua lives on, Natrose x.
PHOTO: PETRINA GEORGE
PHOTO: TONY MOTT
At the age of 10 Paul Hester wrote in a school essay
that his musical ambitions were “to become a leading
drummer in the world and to have a successful pop
group.” He had been a drummer since the age of five;
just like the Finn brothers he was dragged out at his
parents’ parties to do an item. His style came from
skiffle, a shuffle was his favourite rhythm and his two
idols were unpretentious masters: Ringo Starr and Charlie Watts.
Paul joined Split Enz in 1983 when the band was on its last legs, and
he cheered them all up. He wrote an exuberant song about the thrill of
joining his heroes: “This is Massive”. After the last Enz tour, he travelled
the world with Neil Finn looking for a record deal, handing out a tape of
raw songs that included one called “Don’t Dream It’s Over”. They got
signed to a record label, and with bassist Nick Seymour lived in cramped
quarters in Los Angeles to make their debut album, Crowded House.
Paul Hester was known as “Hester the Jester,” the clown prince of
Crowded House. He was the one who gave the band its personality on
stage, his anarchic humour making sure they never got bogged down in
earnestness. Sitting behind the drum kit, he could take control of a concert
on a whim: a wisecrack could upset the flow just enough that the show
took on its own spontaneous energy.
Chris Bourke (Reprinted courtesy of the Sunday Star Times)
APRAP June 2005
15

This two-metre high stencil graffiti
appeared on an Auckland hoarding in
April before being painted over a
couple of weeks later. The lettering
on Helen Clark’s badge stated: “Punk
is not Dead”.
PHOTO: ARTHUR BAYSTING, GRAFFITI: KOOL
Australasian Performing Right Association Ltd. An association of composers, authors and publishers of music in Australia, New Zealand and the South Pacific: Having affiliations with similarly constituted organisations throughout the world. Writer Directors: Arthur Baysting (New Zealand),
Jenny Morris, Richard Meale LLB AM MBE, Michael Perjanik (Chairman), Eric McCusker, Chris Neal. Publisher Directors: Robert Aird Universal Music Publishing Group Australia, John Anderson EMI Group (Australia) Holdings Pty Ltd, Peter Karpin BMG Music Australia Pty Ltd, Fifa Riccobono
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New Zealand - NZ Head Office. 92 Parnell Road, PO Box 6315, Auckland, New Zealand. Telephone: (64) 9 379 0638, Facsimile: (64) 9 379 3205. Membership Email: nz@apra.com.au . Internet: www.apra.co.nz Registered Office: Sydney - 6-12 Atchison Street, St Leonards, NSW
Australia, Telephone: (02) 9935 7900, Facsimile: (02) 9935 7999, Email: apra@apra.com.au New Zealand APRAP. Auckland, PO Box 6315, Telephone: (09) 379 0638, Facsimile: (09) 379 3205. Editor: Catherine Langabeer Email: clangabeer@apra.com.au. Design: Lorenzo Design.
Contributors: Anthony Healey, Catherine Langabeer, Petrina George, Lisa Nimmo, Arthur Baysting, Scot Morris, Mia Dyson, Stephen Gibbs, Christina Fuemana, Hone Ngata, Matt Ruys, Daren Kamali, Natrose Te Hei, Rev. Mua Strickson-Pua, Chris Bourke. The opinions expressed in articles
in APRAP are not necessarily those held by the APRA Board. © 2005 Australasian Performing Right Association Ltd.
APRA, 92 Parnell Road, Auckland, PO Box 6315, Auckland. Freephone 0800 NZ APRA (69 2772), Phone 0-9-379 0638, Fax 0-9-379 3205, Membership Services Ext 209, Email: nz@apra.com.au