(hats off to the ODT for both giving us the search terms and telling us it is legal to use them).
Are we maybe also talking about a regional issue here too? Like all the people I've just mentioned, I'm in Auckland. It's easy to not see far past that.
Young blood in charge. shake shit up. People with new ideas. People raised in the technology we use now, not those struggling to catch up. I’d ask “da yoof” what they want to see, what they need. The average high school leaver year old probably has a much better idea on tech and where the music industry is going than some of those in charge.
Just not true any more. I don’t know anyone more in touch with the way his industry is changing and being disrupted than Adam Holt of Universal NZ. When Lawrence Lessig came here, Ant Healey was in the audience.
You’ve also got people like Chris Hocquard and Ashley Page, who have built digital infrastructure with DRM NZ – and, of course, have Broods about to take off in the US. And Andy Murnane of Dawn Raid, who has done *really* well for Janine and the Mixtape in the past month. And, of course, Ben Howe. They’ve all had their failures to learn from, but they’re smart and experienced.
I’m all for traditional approaches and not jumping to new techs, but I have never seen any real consultation from the industry with young people and I see this as a severe problem.
Rianz/RMNZ have actually done a great job in getting all that heritage catalogue re-released and in some cases remastered and restored for digital. They’re really not running away from this. In part because if you’re a major with lots of copyrights, music streaming revenue actually starts to work.
Much of the most interesting stuff musically in this country has for years been created by those under 20/25. Why have they no say in where its heading?
I definitely agree with you here. There seem to be a lot of good young artists lately, but are there skilled people amidst them in management, inspirational and tech roles? Are there Chris Knoxes and Doug Hoods?
I do dwell on the fact that while the current NZ heritage projects (like those reissues, Audioculture and Ben’s beautiful vinyl reissues) are a great thing, I might feel a bit pushed out if I was 20 years old and making new music. But I try and do my bit.
The recently released report on NZ music at WeCreate.org.nz shows that around 90% of purchased music in NZ goes to imported overseas artists/labels, and commercial radio plays around 83% overseas content. The independent percentages within these will be much smaller again.
Hmmm. I think that every time PWC puts out a report trumpeting another increase in digital advertising spend -- which goes almost entirely offshore, with a bit for the foreign-owned local media companies and almost nothing for independent online publishers like us.
So, very broadly speaking, the question Blink asks is a very valid one – to what degree does the governance of these organisations genuinely wish to further the interests of those of us who create, care about, listen to and invest in local music?
Good question -- not least because it's not the duty of those organisations to do so. But does Apra's 95bFM sampling still just happen to take place during NZ Music Week? And pretty much all I can remember about Mike Chunn's time as head of Apra NZ was cheerleading for NZ music. Apra kicks in for the Smokefree Rockquest and the Taite Prize, and RMNZ helps fund Independent Music NZ when it's not really required to.
The people in charge do as much as they can within (and probably sometimes beyond) their remit -- so what else would change things? That's a genuine question, btw.
I've just noticed the detailed response to Blink on the Apra website.
Ian is a passionate supporter of music, songwriters and musicians in New Zealand. He has many great ideas, runs excellent events and ran a great music venue. We welcome good constructive criticism of what we do and we champion and support his enthusiasm for music, especially the independent music scene. In the past we have even supported his events financially through funding from APRA’s Music Grants program. We are listening to Blink’s issues and have undertaken to make changes where we can and where we agree it’s needed. Some of the changes he believes need to happen are indeed already in the pipeline. It is important to note that there are a number of points he makes in his book that are incorrect and we have outlined our response to these below.
It's worth reading.
while it may still be early days post book… but dammit can’t ALL venues, promoters and others follow Blinks lead and publish ya bloody set times – a facebook post 3 hours before doors isn’t overly helpful (points for trying though) and also stick to them (as much as possible)!
I like the early-and-late shows idea too. It would be fun being able to rock up for a 6pm start.
Would Blink really prefer that Apra and RMNZ completely turned their backs on the New Zealand music scene, did no good deeds and sent the money offshore instead?
Sure, haha. They already send a ton of money offshore already that is “potentially” meant to go to local artists when using radio data to evaluate background music, so why just stop there?
I am pretty sure music in NZ would continue just fine without those awards.
Mmmm ... maybe. But a lot of people feel differently. I'm just taking issue with your logic there. The fact that there's a should've-been-fixed-yesterday problem with one area of performing rights collection isn't an argument for Apra to cease being a member of the music community. People do care about those things, and I don't see how scrapping support for all awards and grants in order to send more money offshore would be a good thing.
I have been very impressed at how in the past few weeks APRA have really taken my ideas seriously and my email discussion with Anthony I feel may lead to some real results, however, I have bringing up some of the same issues I have been trying to get attention from APRA for numbers of years. It is sad that it took me having to write a really inflammatory essay for them to acknowledge the same things I’ve been saying all this time.
Yeah, I guess, if that's what it it took. But in my experience Apra have always been fairly open and engaged. They were quick to offer reasonable licences for online use of music, for example.
I don't think Steven meant to be insulting or offensive, but perhaps he could explain.
Also, the kind of venue Blink writes about pops up in Palmerston North - the Kickstarter-funded Great Job.