Hard News: Bean-Counting the Beat
444 Responses
First ←Older Page 1 2 3 4 5 … 18 Newer→ Last
-
seeing as we're talking about dance music, here's an xkcd comic.
xkcd may be to comments threads what the far side was to lectures.
-
Yeah yeah re the panel discussion. They go on about the problem but they don't put up solutions.
NZoA's recording artists grants designed to create fly by night one hit wonder kiwi popstars to fit nicely between the ads of the trad broadcasters and feed the majors is so far behind the times it's not even funny anymore.
Music Industry commish copyright and promotion workshops is nothing but a joke to account for their budget.
I'd have NZOA or MIC reps contracts performance based and make them as A&R people. Make an urban division, an indie division, a rock division etc with a budget and say go find 4 groups and pimp them like your job depends on it cos it would.
Hows that for starters, i mean if they gonna vet people for broadcast as a record label by proxy or pimp them overseas at WMC midem or SXSW then make them accountable for their choices ?
Of course if you proposed that and you'd get a whole buncha people in whose best interest it is to maintain the status quo get fucked right off cos suddenly they'd be out of a job that is easy money for them as they don't have to do fuck all for it.
It would also address the real gaping hole in the industry and help plug it. A&R people and digital pimps.
Radio needs closer ties to the net if it wants to stay relevent, it can't just rely on FM listeners for its audience anymore or rely on the *cough*sound ethics*cough* of radio programmers
So how about a central NZOA server linked to APRA where NZ artists can upload and radio programmers can download and peeps can vote for who gets video/ recording funding ? Tweak Chris Hocquards amplifier and you basically got that already.
Fuck going cap in hand every quarter with your demo cd for a grant decided by statefunded tastemakers who are basically suckholes to mainstream broadcasters.
And who gives a shit about Gray Bartlett or Hayley Westenra/ popera. That aint the future. Thats a dying market. Why pander to a demographic that is losing numbers every year just cos they got disposable income ? Whatever happend to music as art. Art should be dangerous, cutting edge, visionary not cookie cut from old dough.
In which case media 7 shoulda had Mikee from loop, maybe Chris Chetland from Kog, Andy from Dawnraid and a video link with Simon Grigg or Kirk Harding.
Time for an overhaul at NZoA and MIC cos they only use whatever good ideas they can get from canvassing over music month to stay in power not realising times have changed and they haven't ?
I propose an all in music month debate chaired by Chris Hocquard.
And jeez it looks like like they already ripped an idea of mine already.
http://photos1.blogger.com/x/blogger/3731/3145/320/805315/tri-speaker-websize.jpgthat'll do for now but oooh cant wait to get my DJ and dance scene rant on next...heh
-
Do some of these people moaning about the lack of NZ Music on the radio forget about Kiwi FM?
I don't think anyone is saying there is a lack of NZ music on the radio.
and even if there was, putting it all together in one place is hardly going get the tunes into new ears. more like putting it in the ghetto.
As an aside, NZmusic month has seemed totally underwhelming ever since NZ music stopped needing the local push in the mid/late nineties. I dont mind it being there though, as long as it doesnt get too self important....
I did get a hit of pride, and a find of a hithero unknown [to me] brilliant kiwi artist last night, The first track on the new[est] Andy Weatherall compilation 'Watch the ride' -Roy Montgomery : London Is Swinging By His Neck, its good in that punky/funky/rockabilly way that Weatherall grooves these days.
almost as cool as The Video Kid being in the rather divine ambient/classical/tech mix by Neil Tennant.
nice
-
Ravers as the new bogans indeed! Mind, I did go into Super Cheap Auto in Petone at the weekend and they were playing hardhouse.
I rest my case.
But my semi-serious suggestion was just based on a few observations. I used to live opposite End Up in Taranaki St, "Wellington's only Day Club", and the people I saw spilling out of there at 10 on a Saturday morning weren't yer old-school loved-up rave kids: more the type to sell you a few points if you were lucky or knife you if you looked at them the wrong way. And yes, hard house does seem to go down well with the boy racers.
I'm not sure whether Soane counts as "proper house", but the last time I went to see one of his sets, Sandwiches was only half-full. Recloose might count as something like a house act, but he's taken on a lot of dub & funk influences since being in Welly, and all in all it might seem that the strength of the live music scene has been at the expense of DJ-based music.
-
I did get a hit of pride, and a find of a hithero unknown [to me] brilliant kiwi artist last night, The first track on the new[est] Andy Weatherall compilation 'Watch the ride' -Roy Montgomery : London Is Swinging By His Neck, its good in that punky/funky/rockabilly way that Weatherall grooves these days.
That's great.
Roy is an example to others, I reckon. He's continued to make exactly the music he wants to make, and release it to a small but passionate audience. Entire catalgue on emusic, if you're interested ...
Ditto The Terminals. Their album last year, Last Days of the Sun, was on a bunch of US indie tastemaker best-ofs for 2007, but I couldn't even buy it at Real Groovy. It's worth the hunt, though -- it's a very cool record.
-
I was sorry the debate wasn't able to go on longer. It seems to me that Gray Bartlett is mostly concerned with the fact that none of the "country" acts are given NZOA funding. But as Brendan says, the whole idea of giving music acts money is that there is a reasonable amount of airplay as an expectation. They are, after all, called NZ on AIR. Surely Creative NZ are the ones that should be answering criticisms, or the NZ Music Commission? As an aside, Russell, you appear to be way more comfortable in front of the cameras. Like your relaxed style.
-
It seems to me that Gray Bartlett is mostly concerned with the fact that none of the "country" acts are given NZOA funding
he specifically said he wasn't there to discuss nz on air funding. his main point seemed to be that the present system reinforced the traditional disinterest in music that didn't fit commercial radios tiny focus.
Much of our voice our culture falls outside of that focus and it is questionable that we should put funding toward that which diminishes our own cultures self image and strength.
-
his main point seemed to be that the present system reinforced the traditional disinterest in music that didn't fit commercial radios tiny focus.
Much of our voice our culture falls outside of that focus and it is questionable that we should put funding toward that which diminishes our own cultures self image and strength.
I said that to Nicky who now manages Holly Smith 6 yrs ago when she was working for NZoA and also in an email to BS at that time as well, except not quite so eloquently:)
Guess who never got funded again after that ??? so i can see the reluctance for those who do curry favour with BS to say the same thing given how he runs his fiefdom.
But i can wait cos as Russell says, 'every year the rumblings grow a little louder' so they're bound to reach critical mass eventually.
-
Guess who never got funded again after that ??? so i can see the reluctance for those who do curry favour with BS to say the same thing given how he runs his fiefdom.
To be honest, I think that's one of the most difficult things about Brendan's position. I really don't think he works that way, but when he's the holder of the biggest purse over such a long period, people are naturally going to assume they were passed over because they spoke out of turn.
NZ On Air become the music industry reservoir basically by accident. At least until 2000, popular music fell between stools -- it was to commercial for arts funding and too freaky for NZTE-type industry support. NZ On Air demonstrated through the 90s that it could bridge that gap, and it became the de facto delivery agency for music after 2000.
I am a bit disappointed that the agency as a whole didn't try and get a grip on the internet sooner, but the problem there was really its enabling legislation. Until a recent Broadcasting Act amendment, it wasn't allowed to go there, or it would have to do it circuitously, via the innovation fund.
I'm on the board (unpaid, before anyone jumps to conclusions) of the NZ On Air-backed NZ Onscreen Trust, which will later this year launch a very cool and fairly large online archive and showcase for NZ screen culture, including music videos. You'll have the option to stream archive TV programmes at quite high bitrates. That's a good development. But I reckon the agency, and the policy-makers, still have a lot of thinking to yet to do about the internet and social media.
For that matter, so do broadcasters.
-
I really don't think he works that way,
I'm certain it works that way.
you'll remember the extensive thread on NZradio yahoo forum where this issue was discussed at length way back in 2001/2002.Brendan was on that list and had the opportunity to discuss that exact point in a civilised fashion. he said on your show he was totally open to free discussion and debate. Brendan gave his side step spiel and removed himself from the list. Its the discussion group for all things radio FFS. Programmers radio personal and thinking people interested in radio are all on that list. I think it speaks volumes about brendan's attitude to listening that he would remove himself from the list.
He keeps saying he's in the broadcast industry like it absolves him from the consequences of his corporations funding, but he's in the broadcasting wing of a cultural establishment. nz on air is in the business of broadcasting nz culture full stop. its their job to change radio to play us, not change us to fit in with radio. NZ culture is the client, not Commercial Radio. NZ on Air is in the service of NZ, not a force unto itself.
I know Brendan is friends with a lot of media commentator types but the fact that he's a nice guy and has old friendships with you all shouldn't cloud your assessment of his recent decisions and policies.
It was insanity to give Radio Programmers the reins to the funding decisions. The very same people that had kept NZ music off our airwaves for years previously have now helped reshape NZ music in their image. How the hell are they going to fix .
I have no problem with the man on a personal level but I do have massive concerns about what NZ on Air funding has done under his watch. I also question the wisdom of one man being in charge of the music wing of arts funding for so long.
-
One of the people in the audience for this week's show was Trevor Reekie, the founder of Pagan and Antenna Records, and also the producer(?) of the excellent Access All Areas music interview slot for Radio NZ National. He was checking his research for his interview with Brendan Smythe on related topics, which will air tomorrow as part of Music 101 tomorrow afternoon some time between 2pm and 5pm. I'll link to the full interview when it goes up on the RNZ website early next week.
Trevor was wary of posting here himself because he thought it'd look like self-promotion (which is sort of sweet), but I'll do it for him. The comments below are his:
---
My impression of how NZ on conducts itself reinforces my belief that NZ on Air is still one of the best things that ever happened to NZ music and still is. My interview with Brendan is quite illuminating in so much that Brendan is very aware of the new digital landscape, and obviously changes at major labels etc but as he says he is in the broadcasting business, his job is to get NZ music on radio and TV. Brendan sees the digital revolution as an opportunity for NZ artists as much as he sees it as an opportunity for NZ on Air.
He concedes that to a certain extent he hasn't been able to take advantage of these opportunities by virtue of a quirk in the 1988 Broadcasting Act (obviously before any of us saw this digital revolution coming) ... He goes on to say that this quirk in the 1988 Act has recently been addressed ... And has potentially cleared the way to explore digital options. He doesn't know what those options will be yet. Who does?
He also goes on to say, in reference to the recent Savage breakout (and top marks to Savage for looking like he could repeat an OMC scenario) that NZ on Air funded the Savage video, and is fully aware of the number of hits it has had on YouTube. That has to imply that he is aware of new taste makers and the influence of music bloggers et al. He is conversant of where those videos should be and what sites he expects them to be. As he says "if a NZ on Air video is not up on YouTube and MySpace we want to know why not".
We covered many of the areas that you touched upon, especially Gray's comments. Whilst I understand Gray's frustration I think it's fair to say that (as you know) NZ on Air can't fund a song that won't get played on radio or tv and that is not a indictment on any genre of music, or the quality of that music, it's more a product of the broadcasting landscape. In my time NZ on Air funded some videos for the Warratahs, Barry Saunders and Al Hunter... There was a country FM station then and most of those aforementioned artists crossed over to the likes of Classic Hits etc as well... It's an even faster changing landscape now.
Last year I made an album with Nigel Gavin. I know that Nigel is never going to be green lit by any panel of broadcasters cos there is no-one who is going to play his material except for a few isolated shows on stations like Radio NZ National, the George FM jazz show, isolated B Net shows and some Te Reo stations (because of his work with Whirimako Black). Nigel Gavin has played with Robert Fripp, and has dazzled many international touring artists including K D Laing recently and he can off load as many CDs as he can carry at a variety of International Guitar festivals. I understand his exclusion from the NZ on Air funding process and it is not something I would point the finger at NZ on Air about. There are other agencies.
-
I really don't think Brendan is influenced by big business. The guy is pretty on to it and has always been quite forthcoming in explaining how NZONAIR walks a tightrope of following govt policy.
NZONAIR is not causing any problems for the NZ music industry. Its helping some people, its not helping others...thats not really fair but its the way it is. We made three videos for our first record without NZONAIR funding and they all got air play and exposure to some degree. Our most played vid to date wasn't NZONAIR funded. I think people need to opt for self motivated alternatives to funding and hope that these things will show you deserve the money in the future which of course makes things much easier.
I do think there is a serious lack of NZ music on radio. Outside of the Bnet, National and Kiwi its pretty much a desert unless you make music that fits a strict format of dull shame.
It has become fairly blatant that the Internet is the new taste-maker for music and has an impact on the 'word of mouth' sales that get such amazing artists as Lawrence Arabia or The Ruby Suns out there to a certain degree. But these sort of artists (good ones...like say Phelps and Munro, Cassette, David Kilgour, SJD, Dimmer, Conan Moccasin) should be getting a financial cut of the commercial radio pie.
I suspect the money getting paid through NZ commercial radio to APRA that goes straight overseas would be massive. It would good to see a little more of that going to the pockets of NZ artists.
-
Today's pointless snark comes to you from John Drinnan:
Arts Minister Judith Tizard, music industry bureaucrats and assorted hangers-on donned their happy shoes recently for the start of the Music Month.
Days earlier, musos - or at least those with prospects for an international career - had started mourning the exit of the EMI managing director they say helped to put New Zealand music on the world map.
EMI's all-but-shutdown here is sad, but it has nothing to do with any government policy, and everything to do with its change of ownership last year and the global climate for big music. The idea that it means the end of international aspirations for New Zealand artists doesn't wash at all.
I'll be interested to see what Chris Caddick does next, although I expect there'll be a gardening-leave spell before he can do anything new.
Am I right in thinking there are opportunities looming for new and existing independent distributors?
-
The guy is pretty on to it
so if the guy is pretty on to it, he knows what he's doing, and apparently he's failing at his job because
there is a serious lack of nz music on radio.
NZONAIR is not causing any problems for the NZ music industry. Its helping some people, its not helping others...
He's not causing any problems?? (which in the bigger picture I disagree with) but he's not solving any either, as is his job, a job he's been hogging the control of for many many years. perhaps he should give someone else a go. maybe they can change commercial radios attitude to nz music.
your first 3 videos unfunded? and your most played video too???. How's that work? one of our creatively most respected and very kiwi bands isn't a high priority ?
fair enough though, maybe one of the reid brothers needed the money more.I get your help yourself comment, as most nz bands have been doing for as long as I can remember. That still doesn't address the issue that our government on behalf of our culture put aside a slice of money to be used to support people exactly like you.
It was an excellent point raised by Russellon media 7 that the size of the grant has remained the same for years (non inflation adjusted in the slightest) and that it is still a very very small amount of money that is pissing off so many people, but as Duncan importantly pointed out maybe that's why it's so important that it be spent wisely, because there is so little, otherwise its just rubbing salt in an already festering wound.
-
My impression of how NZ on conducts itself reinforces my belief that NZ on Air is still one of the best things that ever happened to NZ music and still is.
which doesn't negate that a lot of people think it could do its job a whole lot better. just because its better than nothing, doesn't make it without flaw.
I think grey made an important distinction on the show when he said nz on air of recent. remember in the first few years of funding nz on air hadn't given the funding control over to radio programmers and did fund a much greater range of nz artists. yes some of that stuff didn't get a lot of air play but that would be the second and most important part of nz on airs job, to get radio and tv to play this stuff. That was the crucial part of the whole endeavor. change radio not change us. -
On the whole, as a fan I was a little disappointed by the tepid 'debate' in this episode. I was pleased to see the mention that a video grant is still 5000 dollars, but the ramifications of this with regard to the substantial drop in production costs and widespread availability of cheaper production technologies wasn't really touched upon. Arguably far more relevant to the allocation or at least figure granted, than the format on which the final product is aired.
Brendon Smythe seems to be his own worst enemy, he doesn't think he used 'that word', very clear in stating:
"we don't shy away from debate, we will always answer debate,
Having read a number of debates on the topic, and never having observed him or his 'gang' deigning to answer anything, I guess perhaps he's referring to private correspondence to NZOA defenders, in which case yes, NZOA do always answer debate (by proxy).
In answer to the query about the lack of country music funded by NZOA, radio representation come to the fore, I hoped someone would pick up on the fact that 'The Rock' is the third most listened to station in New Zealand and NZOA fund and have funded only a handful of songs in 18 years that actually ROCK!
Mr Bartlet does good work in promoting his artists. time well spent. Although he seemed somewhat uninformed as to the role of NZO'A',, but for my money, I felt Duncan made strong points.
If it's not impertinent to ask, is Media7 funded by NZOA? -
I hoped someone would pick up on the fact that 'The Rock' is the third most listened to station in New Zealand and NZOA fund and have funded only a handful of songs in 18 years that actually ROCK!
You're kidding. Aren't you?
-
remember in the first few years of funding nz on air hadn't given the funding control over to radio programmers and did fund a much greater range of nz artists.
From 1991-99, the funding you're talking about didn't exist. It wasn't "handed over" to anyone after that. It simply wasn't there.
yes some of that stuff didn't get a lot of air play but that would be the second and most important part of nz on airs job, to get radio and tv to play this stuff. That was the crucial part of the whole endeavor. change radio not change us.
What do you think the Hit Discs, the radio pluggers, etc, did? I'm no fan of commercial music radio, but I think it's evident that its attitude has improved a lot in the past decade.
I think the time I realised it had changed was when I was in a shop and bleedin' More FM had Goldenhorse playing live-to-air during NZ Music Month. That band is now, obviously, mainstream, but it was a bNet act back then. And this month, Newstalk ZB has been doing interviews and live-to-airs. Freaky.
But I still don't get OpShop.
-
If it's not impertinent to ask, is Media7 funded by NZOA?
No. We're produced out of the separate funding that the government gave TVNZ to produce content for the new digital channels.
Public Address Radio gets modest NZOA funding to produce a programme for Radio Live, but you'll have to take my word for it that that doesn't have an impact on my view.
-
Very interesting discussion here (as ususal). I'll start off by saying I haven't had a chance to check out the Media7 show due to our internet being down last night.
I've always had a clear view of what NZ on Air would and wouldn't fund, which is why none of the acts I've been involved with (all little piddlers of bands really) never bothered applying for them. This is not a bitter comment, just simply that the styles that we've played (being punk, country and instrumental rock) have never meshed with NZOA's target audience (being commercial radio). It's probably been 5 - 6 years since I've listened to commercial radio myself.
I've always had a concern though, as a musician, about what message NZOA sends to aspiring performers. Even before the advent of the internet as a distribution platform I felt that it's focus on commercial radio was a hugely limiting factor, as commercial radio is not known for being the most innovative format - even less innovative in a country with such a density of stations and level of competition in the market. It's always felt (to me) like the message has been, don't innovate, copy - give us something which listeners can instantly feel familiar with, something which they understand without having to think. Obviously my concern here is about the promotion of creativity and diversity of product - and I understand that these are areas which are not covered by NZOA (as it's not their focus - fair enough).
With New Zealand being such a small market for musicians I never did quite understand why we wern't promoting NZ music which stood out from it's international competitors. It seems that product differentiation is viewed as a bad thing by most commercial radio - when in fact this has always been the thing which NZ bands have been able to use to draw attention to themselves on the international stage. The dunedin sound (enough of the groans people) is a very good example of this - and I know it's a long gone day, but internationally people were interested because it was different from other material that was presented to them at the time.
I do think that it's time that the role and function of NZOA is relooked at - at very least to bring it into line with the changing nature of the music business.
-
What do you think the Hit Discs, the radio pluggers, etc, did? I'm no fan of commercial music radio, but I think it's evident that its attitude has improved a lot in the past decade.
But I still don't get OpShop.
Hit discs are a waste of money and have been for a while. Why have a disc when with Amplifier you have a whole database to programme your radio from ?
Dont the people whose job it is to select the tunes for radio trust their own judgment without having NZoA spoonfed them the latest tastemaker du jours selection for the month ?
Commercial radio's attitude has changed cos its got a state funded body backing it up and to which it can defer responsibility for shit tunes getting airplay as long as the advertising money keeps rolling into NZoa. Neither are gonna change much and why would they? A parasite and its host from a perfect symbiotic relationship that is exclusive of the wider ecosphere.
Its all about maintaining the status quo and covering your arse or kissing it if you want to play their game.
As for op shop that is exactly the point. Who are these tastemakers that determine who or what has commercial potential and to what radio stations format are they pandering to ? Just the big ones generating the most ad revenue ? Such a fucking copout with no accountability for their choices.
The amount of stupid tunes and wack artists that get funding bewilders me. It's almost like tokenism. We'll do a safe hiphop tune for the youngers cos thats what we want them to listen to never mind that drugdealing label 'colourway' has more hits on youtube than most bands getting plugged these days. Then fund a girly guitar one for the angsty chix, a ska punk one for the lads just so we can sneak some artfag shit by one of their mates in there with no commercial potential at all.
I'd be keen to see a list of tunes/artists funded over the last 7 yrs vs how much play they got and where are these artists now ? See if theres a discernable pattern in funding genres and artists and more importantly labels/label heads.
That might mean opening up APRA/RIANZ/PPNZ logs but i cant see them doing that either cos then we'd see how big their black box of unclaimed royalites is.
And dont even get me started on why NZoA funds multinational major label artists. It hinders the labels from investing in the artists they supposedly believe in and limits those cutting edge indy artists from getting a slice of pie.
To put you on the spot Russell. Is BS the man for these times or not ?
-
have never meshed with NZOA's target audience
This is one of the biggest misunderstandings involving this issue.
You are nz on airs target audience. we all are. Commercial radio is the delivery medium. NZ on Air serves us, all of us, not just a few narrowminded programmers for the most out of touch media in the country. Why do people keep accepting the situation as it is?NZ on air has failed its client. I wish the friends of smyth society would stop soft peddling that one fact which you all seem to agree on in a behind the hand whisper kinda way.
Obviously my concern here is about the promotion of creativity and diversity of product
NZ on Air was set up to deal with issues relating to national identity and culture. simple as that. our voice our people, you may remember a multitude of one liner catch phrases along similar lines.
It was never intended to be a slush fund for commercial radio.smyth initiated the 'lets get the programmers on side by making them the gate keepers" tactic, and it was an interesting bit of lateral thinking, but it failed, it didn't work. There are no more pheonix foundations, and to steal someone else's list Phelps and Munro, Cassette, David Kilgour, SJD, Dimmer, Conan Moccasin....on the radio than there was years ago.
selective funding by parties with priorities other than the Nations health and well being may well have had massively far reaching effects. Music plays a huge part in culture
I've often wondered about the rise of street gangs in ak and the bogan boy racing culture in chch. Nothing happens in a Vacuum.
-
With New Zealand being such a small market for musicians I never did quite understand why we wern't promoting NZ music which stood out from it's international competitors. It seems that product differentiation is viewed as a bad thing by most commercial radio - when in fact this has always been the thing which NZ bands have been able to use to draw attention to themselves on the international stage. The dunedin sound (enough of the groans people) is a very good example of this - and I know it's a long gone day, but internationally people were interested because it was different from other material that was presented to them at the time.
And that I agree with absolutely.
That was the crucial part of the whole endeavor. change radio not change us.
And that too, with some reservations as to our right to change companies who have been asked to pay millions for the right to broadcast, although the Broadcasting Act should have been more forthright in the requirements of those who purchased airwaves to play a percentage of NZ 's musical output.
Sadly, once again it's the brief that is at fault, and, to a lesser degree the implementation. I'm 100% with Rob when he says that Radio programmers should not be allowed to choose who gets funding. That simple fact in itself prevents acts who may have a chance to work outside NZs shores from getting a look in. Commercial radio is all about making sure things don't stick out.
NZ's two most internationally successful acts (neither of whom got initial NZ commercial play, excluding MaiFM) performing original material (sorry Gray...it does matter) are OMC and Split Enz / Crowded House, both of whom sounded oddly different at the time. They stood out.
I do think that it's time that the role and function of NZOA is relooked at - at very least to bring it into line with the changing nature of the music business.
But I also agree with Brendan, Radio is not going to go away, as long as we have cars and factories.
There is an argument that the Scribe success in Australia, and now the Savage pick-up in the US are examples of where the post 2000 funding has given legs to NZ acts but in both cases they've worked because of the above, they sound different. Savage, for all it's aspirations to be one, doesn't sound like an American hip-hop record, it sounds freakishly different and very South Auckland. And the NZ, almost cartoonish (which I don't mean negatively), hip-hop movement was driven out of the likes of Mai Fm and bFm (who gave Phil Bell and P-Money an on air presence years ago and had long championed NZ hip hop, with the likes of Simon Laan's AK89 tape). This had been brewing for years.
But, yes, encourage the diversity, the points of diffrence, don't limit the Air that NZoA aspires to as that found only on domestic radios, remove the programmers from the selection process (I'd add half a dozen switched on kids to the panels ahead of anybody from a network).
-
From 1991-99, the funding you're talking about didn't exist.
what funding do you think I'm talking about?
The one I'm talking bout is the one that channeled government funding to a wide range of artists. at the point it was video funding. you obviously misunderstood me or tried to second guess me. no problem, I forgive you.What do you think the Hit Discs, the radio pluggers, etc, did? I'm no fan of commercial music radio, but I think it's evident that its attitude has improved a lot in the past decade.
why they're a tool to provide music choices to the radio programmers Russell. what do you think they are? They're not a means to an end their part of the process. the important part being actually getting radio to play the music of NZ.
My understanding is in 98-99 music programmers were bought into the decision making process, of recording grants, music videos and hit discs, thus guiding the whole process toward their pre determined image. You don't get onto hit disc unless you're going to get played on commercial radio and you won't get played on commercial radio unless you fit the format, and you get on a hit disc unless you.... etc.
see how nice and tidy it all is.
Now I can understand Commercial radios slant on things, they're out for themselves, but NZ on Air, who supposedly work for us, how'd they get themselves into the impotent state they are, what a predominantly sad waste of money (with notable exceptions of course). -
and russell, the wingefest comment. did you actually have a real source for that and if so why'd you let him off the hook.?
why did you not pull out the piece of paper that proved it?you had a very interesting point re nz on airs unwillingness to accept criticism of their current course.
Post your response…
This topic is closed.