Hard News by Russell Brown

58

Paying for the storms to come

When I wrote last week about the aftermath of the storm that struck Auckland, it was already clear that the storm's major impact was the widespread interruption of electricity supply. I noted that while we had our power back, my friends on Auckland's west coast would be waiting another day. It turned out to be a lot worse than that.

Vector's map shows there are still several large outage areas in the west of the city, along with hundreds of smaller faults in dozens of suburbs, each representing one or more household still without electricity. Some households are likely to be without power for another week yet. Some have also been without telecommunications, and places that needed electricity to run pumps from their water tanks have been without water.

If we regard last Tuesday a stress-test for infrastructure ahead of the super-storm assessed as Auckland's main disaster risk, the city has not done well.

Indeed, we've likely done worse than anyone expected. Last week's storm was not an  ex-tropical cyclone, but at its worst it was said to be the equivalent of a Category 2 cyclone. According to the relevant page in the Emergency Management section of Auckland Council's website, a Category 2 storm would be expected to bring the "risk of power failure". A Category 3 storm would make power failure "likely", while a Category 4 storm, with winds of 225 to 279km/h, would cause "widespread" power failure. At one point last week, 180,000 homes, representing more than half of retail electricity customers in Auckland, lost service. That seems quite "widespread".

Vector, the region's lines company, has done a decent job of restoration given the sheer scale of the outages – but has also learned some hard lessons about its systems for communicating with customers. The app that was supposed to make things easier has in some ways made it worse, as residents try and use it to notify outages and still don't see their properties even listed for a fix. The company has had to create an old-fashioned web page listing all the faults yet to be fixed, along with estimated restoration times.

Local body representatives have begun asking questions, as per this Twitter exchange today:

Entrust is the entity set up (originally as the Auckland Energy Consumer Trust) to hold ownership of the electricity distribution part of the old Auckland Electric Power Board, which was spun off from Mercury Energy under the Electricity Industry Reform Act 1998 and became Vector Limited (Mercury itself was created when the AEPB was corporatised in 1992). Until 2005, the trust owned 100% of Vector, but Vector was allowed that year to issue new shares, diluting the trust's holding to 75%. Vector used the proceeds of the share sale to diversify, buying a gas company.

I'm willing to lay odds that whatever money Entrust has set aside for undergrounding of power lines amounts to only a tiny fraction of the cost of undergrounding the 45% of the city that still has overhead lines (that's largely the older parts of the city – all new builds have underground lines). We're talking billions of dollars here.

There are some drawbacks to undergrounding – it's harder to fix lines when something does go wrong, as Christchurch has discovered. And there are parts of Auckland where it might mean digging through volcanic rock. (There are reasons that Chorus settled for just stringing new fibre from existing poles in the UFB rollout.) But we now know that a key part of Auckland's infrastructure is more vulnerable to its most likely kind of disaster event than had been supposed.

We just don't know where the money might come from to fix it.

The obvious answer would be from cancelling the annual Entrust dividends we electricity consumers have come to love. But last year's dividend was only $110 million and the trust has paid out only a billion dollars in the 20 years since its creation. Glenda Fryer, the deputy of chair of Eden-Albert local board, told me that her understanding is that Entrust has no cash reserves.

You could see this as a failure of the corporate model for key infrastructure services, but I think it's a bit more complicated than that. It was, after all, the creation of Metrowater as a council-owned company in 1997 (it was integrated into Watercare Services with the creation of the Auckland supercity in 2010) that finally got the city past the fecklessness of successive centre-right councils, who repeatedly deferred maintenance so they could campaign on keeping the rates down. Finally, money paid for water services was actually being invested in water services.

But as Todd Niall's excellent RNZ Insight programme explained today, we are now very much paying the infrastructure bills shirked by the councils of the 60s, 70s and 80s. Auckland Councillors are now faced with estimating  how much today's ratepayers will bear in the way of a targeted rate to fund water, wastewater and stormwater improvements in the older parts of the central city. (Here in Point Chevalier, water and electricity failures and sewage on the beaches after rainstorms go hand in hand with steadily-increasing residential property prices. It's a mercy that Chorus has replaced its degraded 1940s-era copper with fibre. I may not agree with Steven Joyce on much, but National's UFB project was a winner.)

It could have been worse. It's hard to imagine Auckland without a sewage treatment facility, but Sir Dove Myer Robinson faced the storm of his political career – including the furious opposition of the New Zealand Herald – in getting the one in Mangere built. He didn't get a rapid-transit system over the line (indeed, things got so bad in the 1990s that the city's railway network was almost shut down to save money), so we're paying for that now too.

Bringing water services up to standard not only has a bearing on how we deal with population growth, but – just like the robustness of the electricity network – how we deal with the consequences of climate change.

Even with those consequences becoming a more urgent reality, it's hard to see this being sorted soon. And in the interim, I think another council-controlled (and funded) organisation – Auckland Civil Defence Emergency Management Group, CDEM or "Emergency Management" for short – becomes vastly more important. In its 2016-221 plan, Working Together to Build a Resilient Auckland,  CDEM talks about the need for "two-way communication and information flow to ensure consistent and timely messaging" and "integrating resilience across all levels of society".

CDEM has done a good job of getting out to affected communities in the past week, but I think it needs to quickly improve its communications game both during and between calamities. It could start with a much better brand strategy – hardly anyone knows what Emergency Management is or what CDEM stands for – and then once  it's got properly into our heads, talking to us about what resilience means in 2018. Even if what it means is "better buy a generator".

11

Friday Music: In troubled times, the people sing and play

As every domestic political debate seems to be escalating towards hyperbole and madness, a couple of new media-political tunes have come across my desk. I feel it is important to the nation that I share these.

The first is a rework of John Campbell's brief, unhappy phone call to former EQC minister Gerry Brownlee for Checkpoint. It had a rhythm to it and just for a laugh I looped the "John" "Yes?" part of the video and tweeted it. It was a rough sort of joke, frankly. Fortunately, Wellington alt-pop combo Gold Medal Famous ran with that ball and turned the interview into something really rather good.

And earlier this week, another Twitter conversation led to this brief, bracing punk-rock commentary on the physical condition of Middlemore Hospital, whose title – 'Trade-Offs Between Taxation Rates And Infrastructure Maintenance Within The Health Sector' – takes nearly as long to say as the track lasts.

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New local videos! First up, the third single from Julia Deans' forthcoming album We Light Fire – and it's something new from veteran music video director Greg Page, who drew his own animations for the clip. The song itself is a rocking meditation on feeling dread, and further hints as to the range of the album to come. (It's on your streaming service and here on Bandcamp.)

And Dion Lunadon, lately of the D4 again, has a new song from his regular band A Place to Bury Strangers. It's on their album Pinned, which is out today.

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The Spinoff's "new Dunedin Sound" story has stirred quite a degree of controversy, not least in Dunedin itself, where many people believe that the batch of surfy-studenty bands it features do not represent the real Dunedin. Some of it sounds okay to me, and I'm struck by how popular it is, as measured by Spotify streams and sold-out shows in Auckland, but it's not really my argument to have. At any rate, there's a sort of balancing argument in the rather good Bandcamp Daily roundup New Zealand Indie: Beyond Flying Nun and the “Dunedin Sound”, by New York writer Nick Fulton.

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I'll do a full rundown of Record Store Day happenings in next week's post, but the lineups are taking shape.

My friends at Southbound Records announced yesterday that they've sourced more than 300 RecordStore Day releases, including the remastered vinyl release of Unitone Hi-Fi's Wickedness Increased (only 300 copies worldwide). There'll also be a 95bFM live broadcast from 8am, 50% off second vinyl and free gifts.

Meanwhile, I'm spinning some discs between 11am at noon at Marbecks ...

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Dudley Benson has marked the tenth anniversary of his remarkable debut album The Awakening by making it a free download on Bandcamp. It's a nice gesture and I think it's not going to be free forever, so ...

And more moodiness and mystery from Jonathan Bree, who has released 'Sleepwalking' as a taster for his next album, which is out in June. I like this ...

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The Rock 'n' Roll Hall of fame has been a dubious proposition at times, but anyone who loves rock 'n' roll should be pleased that Sister Rosetta Tharpe is being posthumously inducted next month. There's a great NPR thing on her legacy:

And of course you can never play this video too many times ...

Meanwhile, I can't embed the Facebook video here, but this clip of Garfield Fleming singing along with his own 1981 disco classic 'Don't Send Me Away' at a vinyl flea market is really a very lovely thing.

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Tunes!

One more single from Estere's double album My Design/On Others' Lives, which drops at the end of this month. Downbeat styles ...

A bouncy tech-house remix of Joe Dukie and DJ Fitchie's evergreen 'Midnight Marauders' (free download).

Ronny Hammond takes on Moby's 'Go' and reaches for the heavy heavy dub controls. Boom! (free download)

And a really nice Leftside Wobble rework of Sneaker Pimps' '6 Underground'. Not free, but only £1.50 on Bandcamp.

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78

Big Night Outage

Our electricity supply returned about 2.30pm yesterday, ending an outage that began around 9pm during Tuesday night's storm in Auckland. I was grateful: our official resolution time was 6pm and I was prepared to be disappointed given the huge number of outages our lines company, Vector, was addressing. Households only a few minutes away from our place in Point Chevalier did endure another cold, dark night without power last night.

We had been prepared, to an extent, when the lights went out. I'd taken note of severe weather warnings earlier in the day and it was becoming clear that something big was going on outdoors. Friends in Muriwai, exposed on the west coast, were anxiously swapping notes about when and whether it might be time to get out. Happily, the newest, most robust and weathertight part of our house in the city was facing the weather. But I hadn't thought about the prospect of us losing power until I saw this this tweet from Cate Owen turned up in my feed (ignore the incorrect-as-usual Twitter timestamp):

I let everyone in the house know and by the time the lights did go go out about 20 minutes later, we had the candles and torches ready on the kitchen table We'd all charged our devices for as long as we could, but with a fully-charged power pack and an even bigger battery sitting in the porch on my e-bike, our USB-chargeable things were actually the least of our worries.

What's notable here is that the first direct warning that our power might well go out soon came from Cate, an individual (albeit one who works in comms), rather than any of the official services. Vector and Auckland Civil Defence had sent early-evening tweets reiterating severe weather warnings, but neither of them were anywhere to be seen online as the shit started to hit the fan.

Cate's tweet contained a screenshot from the Vector app, which I quickly downloaded. I'm used to using the outages map on Vector's website (our inner-city suburb is no stranger to infrastructure failures and, unlike Watercare Services, Vector is pretty good at communicating the location and likely duration of outages), but it made sense to get the app on my phone, right? Like everyone else in Auckland, I discovered that it was working barely if at all. Screenshots other people posted didn't even show our outage.

Over the next hour, multiple people tweeted about seeing flashes of light from arcing lines and – according to one tweet – multiple transformers in Mt Eden blowing up at once. Someone else said they'd seen the whole North Shore go dark at once. But there was no official word about that – even the Herald's live reporting seemed very light on urgency and detail. The nearest was this tweet from Weatherwarch's Philip Duncan, who was active through the night.

What I understand is that the ferocity of the storm and how quickly damage occured did take everyone by surprise. It may also have been the case that, in a summer of highly localised weather events, the impact was much worse in some places than others and that was hard to track.

At Vector, the app soon got overloaded as many thousands of users connected both to check outages and file reports of their own. When that didn't work, they turned en masse to Vector's call centre. The people who were nominally part of the after-hours Twitter team are part of the call centre, so they got caught up in that deluge.

Eventually, this slightly defensive message was tweeted out:

It wasn't really enough. Given the load problems being suffered by both the app and the call centre as around 200,000 homes and businesses (that's getting near half the homes and businesses in Auckland!) lost power, a steady flow of warnings, information and reassurances over social media channels where load isn't an issue would surely have been appropriate. And social media channels are, of course, two-way, which seems relevant when the reporting feature of the app was overwhelmed.

Auckland Civil Defence was worse, tweeting only once, very late in the piece and then later getting defensive, as its director John Dragicevich blathered about people's "common sense" but acknowledged some (shudder) "learnings" from the torrid night.

Dragicevich may have been as personally unsurprised as he says, but the appearance was that his organisation was caught unawares. Perhaps, like the rest of us, it may have had a touch of hazard fatigue. We get a lot of warnings, which is entirely appropriate, but there's a psychological tendency not to pay too much heed when many of them don't come to much.

Rather than posting a warning in advance then clocking off, the professional communicators at key organisations should be prepared to scramble when the shit clearly is hitting the fan. We've learned that in Christchurch and I thought official social media accounts did reasonably well during Wellington's tsunami scare in 2016.

In Auckland, the intensity of the storm clearly did come as a surprise, but the task for these organisations – especially as global weirding becomes the new normal for weather – is to make sure they can scale up very quickly from low-level business-as-usual.

My sense is that that conversation is already underway at Vector at least – and the work done in the past 30-odd hours by Vector's lines teams has been extraordinary. There are a lot of workers not seeing their own families so that households like ours have heat and light.

Anyway, we went to bed in the dark on Tuesday night. And when we woke it became clear to me that our own prep hadn't been all it could have. The relatively warm northwesterly winds of the storm had swung around to the southwest and we facing the coldest day of the year in a cold house. A cup of tea might have been nice, but I never did get around to buying one of those butane rings for emergencies. ("We can always boil water on the barbecue," I had thought to myself. Not yesterday morning in the rain we couldn't.) Happily, there was hot water still in the cylinder for a shower.

Something else became apparent: the mobile networks that had worked fine the night before were slow and flakey the morning after, sometimes stopping altogether. Was that a consquence of load in a powerless smartphone-owning suburb, depleted cellsite batteries, both?

As it turned out, there was a warm cafe only a kilometre away – the outage had not hit the whole suburb – and the bacon and eggs tasted great. I spent the rest of the day getting my hair cut in a powered-up part of Grey Lynn, then being taken to Prego for lunch (where the short ribs were a warming delight). I took pictures like this (a big gum tree near Countdown in Richmond Road had fallen, taking lines with it) along the way:

After lunch, I popped in to Bunnings for emergency firewood and a butane ring – the latter were sold out after a morning rush from powerless Grey Lynners.

As I said, I have friends nearby who may only get power back later today – and my west coast buddies won't light up till tomorrow. It seems evident that the longer-term fix for resilience will be the undergrounding of more lines (yes, Christchurch friends, your underground services broke in the earthquakes, but our doomsday risk is a volcanic eruption, which would also be unkind to overhead lines). But until then, yep, I reckon I'm going to reassess our emergency prep. And get one of those gas rings.

16

We should stop being surprised about racism

Fourteen years ago last month, Bic Runga flew into a storm. Down near the bottom of a glowing profile headed Is this the next Norah Jones? in Northern Ireland's Belfast Telegraph, these lines appeared:

She says her childhood was tough and racism was a constant feature.

"Relationships can be really bad between Maoris and others," she says. "The Australian situation is probably better known abroad, but unfortunately New Zealand can be a racist place too."

As luck would have it, she landed back in Auckland the day after the profile was published, to the Herald headline NZ a racist place, Bic Runga tells Irish paper. And this opening paragraph:

Christchurch singing sensation Bic Runga, who left New Zealand to further her career in Paris last year, has labelled her homeland racist.

The musician, who is half Maori and half Chinese, was quoted in the Belfast Telegraph as saying "relationships can be really bad between Maoris and others".

No welcome home, no congratulations on rave reviews on both sides of the Irish border; just a "please explain". She issued a press release the following day in which she assured the country:

"No country is without racism, I grew up with it, that was my experience. It has not made me bitter or ashamed.

"New Zealand is a beautiful and unique place. I love my country and I am proud to represent it internationally."

She declined to be interviewed by the Herald, but did come on the 95bFM Wire show I was hosting and was clearly a bit rattled by events. And understandably so. She was entitled to talk about her experience without the implication that she was somehow selling out the country.

As I wrote at the time, we should hardly be surprised that a Maori-Chinese kid growing up  in Hornby in the 1970s would experience racism. And on contemporary Māori-Pakeha relations? Don Brash had delivered his Orewa speech that same summer, for goodness sake.

The parallels a decade and half later with this week's Taika Waititi furore are quite striking. I actually included the link to his joint interview with UMO's Ruban Neilson in Dazed and Confused in last week's music post, excerpting a part I thought cast some light on the themes of Ruban's new album. I didn't make anything of Taika and Ruban exchanging notes on growing up brown, because why would I? It wasn't my experience – that's the point.

And yet, here we are again, in a predictable set-piece furore. I guess it's good that we have the discussion again, and that there is some counter-argument (although leaving Stuff comments open rather takes the shine off  that). But we really need to accept that our creative stars are not paid ambassadors and that they are as entitled as any of us to share their views and, even more so, their experiences.

We should stop ripping quotes out of context (I mean, in the part where Taika calls Aucklanders "very patronising" he's ragging on an Aucklander – what's more Kiwi than that?). And we really need to stop professing shock when well-known people observe, off the back of their own experience, that racism remains a blight in Aotearoa New Zealand.

3

Friday Music: A Turning Point for Tono

I took the northwestern cycleway to the first of Anthonie Tonnon's season of shows with a full band last night. It marks something of a turning point:  nine of the dozen songs played were new – including one, a synth instrumental called 'Entertainment', that might be on the album after the forthcoming one.

There are some kinks to be ironed out, but it was nice both to hear a new set and to hear the songs (including the older ones) with a band filling them out. Lot 23 is both an excellent and unusual venue. The house PA, built for opera (and recently hired out for Moodymann's Auckland show), is incredibly precise and I actually had a great time just sitting enjoying the playlist between sets (listening party, anyone?). But the room is set up as a production studio, and has the odd effect of hushing everyone between songs.

If you're going along to the second show tonight, I'd recommend getting there early – to snaffle a seat (sitting on concrete floors is for the young folk) and to catch Sandy Mill and Dianne Swann playing as a duo in support. I reckon there's a lot of potential in that setup.

Meanwhile, Tono was on fire.

He's touring a lot of places this month, both with the band and solo. Check and see whether your town's on the list.

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The new UMO album, Sex and Food, is out today. I can't really tell what most of the songs are about (well, okay, 'American Guilt' is clear enough) but it sees Ruban Neilson take the supple funk of the last album in a dirtier, darker messier direction. It's a funky rock record and it's cool.

Ruban and Taika Waititi got interviewed together (over Skype) by Dazed and Confused, and I think this quote provides a good steer to the themese of the record.

When I’m writing, I feel like I just look round and see what’s going on and then write about what I find interesting. It might come across that I’m saying dark things, but with a New Zealand sense of humour the default is to go dark, (though) it might not seem that way to me. I’m not trying to make any judgment, I just want to write about the feeling of wandering around, looking at what’s going on in the world and making little statements about it without real opinions. I’m actually kinda sick of opinions now; we’ve been bombarded with them for a couple of years now and it’s sort of worthless, eh?

And there's a tour to look forward to:

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American indie Dais Records is re-releasing the recorded work of Straford's finest Nocturnal Projections on April 27. There's a video preview with a lot of heartwarming old photographs in it ...

There's a pre-order page on Bandcamp, but only for the digital version of the album.

On release day, Graeme Jefferies plays solo at The Wine Cellar.

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Garth Cartwright's years-in-the-making book Going For A Song: A Chronicle of the UK Record Shop seems to be getting a good reception. The Quietus has an extract about The Cartel and Probe Records. I'll have to get the e-book, not least because I had a chat to Garth for the book about my experiences both working in and visiting British record shops.

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Aaaaand some new local videos ....

Boycrush brings in the New Zealand Dance company for 'Demi-pointes':

And old-fashioned on-tour clip for Carb on Carb's 'Nicole's Expres':

And High Hoops gets slinky and poolside for 'Body':

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