Around this time last year I wrote a piece called The joke that is NZ on Air funding. It looked at how inferior bands like Autozamm were milking the available funds to make rubbish music. We were paying for music we were not consuming.
There were quite a few comments on that post - and several musicians wrote to me privately, thanking me for putting it out there. It seems that musicians in New Zealand have a hard time speaking out about the funding hypocrisies because, well, they do still all want to be considered. Well, most of them do. And so they can't be seen to speak out about the funding bodies. Not publicly.
Just before the end of last year I served up The joke that is NZ on Air funding: II and, you guessed it, loads of comments again. Funding is an issue we all feel strongly about. And rightly so. We're the ones paying. Our money is going off in the direction of music we do not support, never heard of, or wish we had never heard.
The target, if you like, for the second blog-post about NZ on Air's fumbled funding was Annabel Fay. She received a bunch of money to make a video for an awful song (click here if you need a reminder of how dire the song and video are). People were heated about the fact that Fay came from a well-off family. But the real issue, to me, was that Annabel Fay's music is terrible. Just ghastly. People started writing soft-ish reviews suggesting that for pop music it wasn't that bad. A strange approach. These same reviewers never seem so keen to defend it when someone from another country has a go at it.
The only reason Fay's family wealth deserved to come in to the story was because it had been reported that Sir Michael Fay had flown 10 radio programming executives over to the family's Great Mercury Island holiday hideaway. This was before the album had been released. And there was talk that Brendan Smyth, NZ on Air music manager, went for the (proverbial) ride.
So that was poor form all round - Brendan should not have got on the plane. Something a NZ on Air employee agreed with me about. And Michael Fay had to figure that people would latch on to this story and hold his daughter's music up to tough scrutiny.
I stand by my comments that her vacuous pop music was insulting regardless of the perceived manipulation of flying the radio programmers away to be wined and dined. But add that information and it's horrifying to think that she was able to get funding - and willing to try. Never mind being entitled to - it just looks bad.
So, here we are - and you've seen the title of this post. And most of you will have sensed a connection. This being a part three to the story.
Well, this one is a little different. This time around I kinda like the music in question. But I'm not sure that what we're seeing is all that fair - or all that wise.
First, it's worth reminding that NZ on Air had an "independent review" - aka The Caddick Report. It's not for us to complain that Chris Caddick is an industry insider and far from independent. The report that he was paid handsomely for has been tabled. It's in effect. NZ on Air stopped funding albums - a few years too late. Though again, I'm personally not sure that funding albums was ever so wrong. But funding the wrong albums was not right.
Anyway, we're into the new rules now: albums are out and NZ on Air is running a programme called Making Tracks where it's about funding singles and videos - sometimes you get the combined money for both (up to a whopping $10,000) and sometimes it's just the money for the video (up to $6000). The artist has to put in $2000 of their own money.
And Caddick, former managing director for EMI and, according to the story I'm about to link to, "prominent cheerleader for local artists", is now the head of the Recording Industry Association of New Zealand (RIANZ). So that's his new post this year.
Unknown Mortal Orchestra is Ruban Neilson's new project. You may remember him from The Mint Chicks.
Neilson's UMO released a song called Ffunny Ffriends over a year ago. It was uploaded to Bandcamp, the online music delivery service; a chance for people to preview then pay for a track if they like it. He wanted to see how it would do. People liked it, and he made an album.
I think the album's all right, actually. I don't quite get the buzz from it that some do. But it's not bad. It's certainly far more to my taste that Autozamm or Annabel Fay - or for that matter Opshop, Midnight Youth or Fat Freddy's Drop. And there are some tracks I really like (Little Blu House) and sometimes when I play the album through I think it's pretty neat. Other times I end up thinking it's only half of an album. And that maybe it's being hyped for the fact that Neilson has decided to stay in Portland, America - he had been over there toward the end of The Mint Chicks' career.
And so this has arrived in New Zealand via some hype from Pitchfork and with the announcement that The Unknown Mortal Orchestra has signed to a cool American indie label. In fact a few of them were gathered around to bid for the group. In the end Neilson went with Fat Possum.
I seem to be hearing more in the album each time I listen to it - as of course is the way (or at least you hope so). So I'm confident that it will continue to grow for me. I still don't see it as any kind of five-star classic but it's interesting and yet still accessible. That in itself is no mean feat.
So I was excited when I received a copy of NZ Musician in the post yesterday. I saw that there was an article about The Unknown Mortal Orchestra.
I was a baffled to read the whining attitude of how it's harder touring America than New Zealand ("I love playing but it's not like I enjoy sitting in a van for eight hours a day"). Presumably he chose to live in America - it's a bigger pool to fish in and from. And he's managed to be paid for his album from a label. He even boasts that Fat Possum "were competing against all the other big indies, so they wouldn't get anything if they weren't aggressive".
And then to contradict the touring whinge, the article concludes with Neilson announcing, "I don't want to be living in New Zealand at the moment because I want to be busy. I was getting bored in New Zealand. I am too restless for it, so it's good to be here."
So he's too restless for New Zealand but also too restless for the eight-hour van trips that allow him to play far more frequently and (potentially) to far more people. Well, you can't have it both ways, can you?
Ah, but with NZ on Air you can. This artist, bored of New Zealand, living abroad, whose latest project arrived via the hype of the blogosphere and particularly the American websites (such as Pitchfork), managed to receive a $6000 video grant in July of this year for the song he wrote and released in America last year; a song that appears on an album paid for by an American label.
But what happens when the band wants to go and make a video? Well, that's where you and I, Joe and Jill Kiwi, come in. You know, the people from the place that Ruban Neilson is bored of. We come in with our taxpayer dough and the NZ on Air people decide it will look good if we channel some in the direction of The Unknown Mortal Orchestra.
It's not just Ruban Neilson who's having it both ways though. His success will be claimed, retrospectively, as being assisted by NZ on Air. Who's more at fault, do you think? Neilson for milking the funding because it's (still) there? Or NZ on Air for seeking to capitalise on an artist who's done the legwork, made the breaks, and could be seen as some flag-bearer for NZ on Air and New Zealand in general? (Don't worry about how bored you are, Ruban, just wave the flag will ya. That's a boy!)
The whole system is still a joke. Well that's what I think.
So is it just me who thinks this is deplorable? See, I reckon that guy should have to put up with how boring it is here if he wants our money. What do you think? And why are NZ on Air still looking to pat themselves on the back for the hard work done by anyone else?
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