Search Results

Note: The Better Busses Ōwhiro Bay co-founders are friends of the author. DAN MOSKOVITZ (HE/HIM) Ōwhiro Bay has been abandoned by the bus network, according to a new report.  During off-peak times, it takes two buses and over 45 minutes to get from Ōwhiro Bay to the city centre. The suburb is disproportionately affected by bus cancellations. Its residents are fed up. Now, they’ve taken matters into their own hands, writing a twenty-thousand-word report to prove their own experience.   Jack Graham and Arunan Noble are both Ōwhiro Bay residents and, in the spirit of full disclosure, friends of the author. They both live with their parents while studying at VUW. After many years of being disappointed by the bus system, hope was initially raised when Metlink announced incoming improvements at the start of 2024.  Instead, what they got was a personal insult to Ōwhiro Bay.  “Before the 2018 bus system reform, Ōwhiro Bay was serviced by the number 4 route, which ran at peak times,” says Graham.  “It came every 15 minutes, and it was really useful for people who needed to commute to and from Ōwhiro Bay. It was the bee’s knees. It was beloved by everyone.” The number 4 is now back—but not in Ōwhiro Bay. (Re?)launched in 2024, it runs between Strathmore Park and Mairangi.  “It just felt cold. So I decided to have a look into Ōwhiro Bay’s buses,” says Graham. “I thought I was going to write Metlink a rambly email telling them I hate them, and it turned out there was more in it than I thought.” Graham got Noble involved, and together they co-founded Better Buses Ōwhiro Bay, where the report is officially published. Together, they wrote 20 thousand words, across 103 pages. Longer than your average rambly email.  Ōwhiro Bay is currently serviced by the all-day 29 and the on-peak 39. Neither is great; the 29 has several services which terminate before reaching Ōwhiro Bay, while the 39 is far less frequent than the pre-2018 4. But crucially, there just aren’t enough of either bus.  When compared to similar suburbs of a similar distance from the CBD, Ōwhiro Bay is far below the average number of hourly buses, averaging only 1.58 per hour going each way. This is 57% below the average for comparable suburbs.  There’s a human cost to such a lack of public transport.  Arunan Noble, Graham’s co-author, drives into Island Bay to catch the number 1 when he wants to get to uni. He’s not alone. To get to the hospital at 9am on a Monday morning from Happy Valley Road—Ōwhiro Bay’s main street—Metlink’s fastest suggestions either involve a 25-minute walk from Mount Cook to the Hospital or a 25-minute walk to Island Bay, depending on what side of Happy Valley Road you are on.  “We have a lot of hospital workers in Ōwhiro Bay, and it’s really hard to get there under the current network,” says Noble. “So often hospital workers here either have to spend an arm and a leg in Newtown to park close to where they work or park elsewhere—sometimes even as far away as Island Bay—and walk.”Graham and Noble’s work wasn’t limited to research; through surveys put on posts in Ōwhiro Bay as well as links on Facebook they also got a sense of the community’s feelings. With 207 responses—9% of Ōwhiro Bay—the survey was a hit. One question asked survey-takers to rate their satisfaction with the bus network out of 10, mimicking a question Metlink asks in its yearly survey. Ōwhiro Bay’s average was 2.7. The 2023 Wellington average in Metlink’s survey was 6.7.  To improve this, Graham and Noble have several recommendations, including more frequent and consistent 29s and 39s, and extending every second number 1 Ōwhiro Bay, amongst others.  The number 1 currently terminates in Island Bay after originating from Wellington’s northern suburbs, however Noble and Graham (conservatively) estimate that such an addition would only add a total of 15 minutes of travel time.  “The average number of buses in Ōwhiro Bay needs to at the minimum double. The number 29 coming every 30 minutes cannot do that,” said Graham.  “Having an alternating schedule would provide these services. Mathematically, it works.” Similar measures are already in place on other Metlink routes; the number 2, which is as high-frequency as the number 1, already alternates between finishing its services in either Seatoun or Miramar.  “ Metlink has received Better Buses Ōwhiro Bay’s report, and appreciate the time that went into compiling it,” said Metlink acting group manager Bonnie Parfitt in a statement.  “We are happy to receive the report as an early submission to the Regional Public Transport Plan (RPTP), which opens for consultation later this year. “We always want to hear how our passengers believe services can be improved. Our Public Transport Advisory Group, comprising members of the community, regularly provides advice to the Council from a passenger perspective.” Graph supplied by Better Buses Ōwhiro Bay.

Words by: Ryan Cleland (he/him) I am well aware folk music is not something we all have in common at Te Herenga Waka. In fact, most of us relegate the genre to old-timey banjos, and when our grandparents would reminisce on how great music was back in their day.  Whilst folk music may not be universally popular, activism is. Fighting for what is right. And activism has been intertwined with folk since its origins. Folk music is the music of the people, as it is an honest retelling of the hardships of daily life. Take for instance, New Zealand shanties about the dangerous lives of sailors; and First Nations people of North America singing against British colonial rule.  My personal experience with folk music extends to late last year when I had the honour to speak to Garnet Rogers, a Canadian folk singer-songwriter. And the brother of late Canadian folk legend, Stan Rogers. In my discussions with him, I aimed to glean insight into how the activism demonstrated by his and Stan’s music can serve as examples for the challenges we currently face.  A Short Intro to Stan and Garnet Stan Rogers rose to fame in the 70’s with a flurry of folk albums, which his brother Garnet helped him record. He was hailed by Pete Seeger as one of the “most talented singers and songwriters in North America”. By the early 80’s he was a Canadian household name, and fast becoming an icon in the music industry. He was known primarily for songs about the daily lives of working people in Canada, and the struggles they faced.  On June 2, 1983, everything changed when he boarded Air Canada Flight 797. Tragically, the flight experienced an in-flight fire, and upon landing at Cincinnati/Northern Kentucky International Airport, it erupted into a blaze, claiming the lives of 23 passengers, including Stan Rogers. After his brother's death, Garnet Rogers continued to release folk albums until he semi-retired in 2014. He occasionally still does tours, and has also published two books. Meeting Garnet Recently I met with Garnet Rogers, when he video-called me from his native Ontario. To his left he had a homely bookshelf; to his right a guitar (one of many which he is known to collect). Garnet was 6ft tall, and he spoke with a deep, booming baritone which echoed through the screen.  Speaking to Garnet, I wanted to know what drove him to weave such political messages into his music. Did we really need politics in music? Garnet was clear. “You write about what you need to write about, and everything is political”. He told me that “particularly for an older, white man, like myself, you can sometimes lose sight of the fact that everything is political. Because you are living a life of privilege—I mean I lead an incredibly privileged life”. He argued that a text, song or poem is always political; the only time you might think otherwise is when you let privilege get in the way.  The essence of folk music can be summed up by something Garnet said to me: “even if I am writing a love song; or just some sort of little observational thing; or a little celebratory piece. I am always aware of how lucky I am and see how lucky someone else isn't”. This notion that simply articulating the thoughts and opinions of ordinary people through song inherently serves as a form of protest against the issues in contemporary society—that's what Garnet and Stan’s music stood for. Pōneke Shanty Club I also met with Peter Tyson, the founder and current head of Wellington’s very own Pōneke Shanty Club in order to discuss what his thoughts were. The club started up in November of 2022 and after a few well-placed Facebook ads, the club took off. As of April 2024 it is home to over 450 members.  The club meets regularly on the first and third Thursday of every month at The Welsh Dragon Bar. Each session they sing songs both old and new. When I visited we sang a variety of songs, from old 18th century sailing songs to brand new tunes written by fellow members celebrating Greece’s recent recognition of same-sex marriage. Tyson said at the core of shanties is the ability to be rewritten over and over again. He told me “there is something inherently political that invites people to rewrite the shanties, I don't know what it is. It's just about songs that are bitching about the boss, the crew and the other countries”. The modern day shanties I heard at the club are exactly the kind of activism that folk music is known for. They are the perfect medium to champion the causes we believe in and make our voices heard.   Garnet seeing Bob Dylan Finally Garnet mentioned a story which deeply resonated with me. The story was about why folk music is still so relevant, and it was the reason he became a musician.  In 1965 Garnet went to see live, at Toronto’s Massey Hall, the US Folk legend Bob Dylan. Bob Dylan began his performance with a usual acoustic set however, halfway through Dylan swapped to electric. Garnet said “the place erupted” but not in a good way, “[people] were throwing programmes, they were screaming ‘False Prophet’ and all this nonsense. And I remember … thinking this is the best thing I've ever seen. It was at that moment I wanted to be a musician”. His reasoning was not because he wanted to be the subject of fervour and stupidity, but because Dylan played the “music so earnestly, in spite of the fact people hated it.”  That's the essence of folk music—what Dylan accomplished for Garnet. It is the idea that someone will bravely tell you the truth, whether you want to hear it or not. It makes the music more important, and the message more urgent.

Served by Bianca Maria Schioler (she/her)  Kia ora tātou and welcome back to another season of Meal Steals which your StudyLink budget won’t kick up a fuss about .  On today’s menu we’re going to take a trip to the famous Cuba Street, well known to any Wellingtonian as the street for excellent food and creative expression. Sadly, Covid-19 saw the closure of many iconic Cuba Street restaurants, and only a few new ones have popped up in their place in the following years. However, we can contribute to making Cuba Street the same vibrant, cultural-mixing glass of culinary excellence it once was by taking to the streets, and filling our tummies.  Unfortunately, for people on a budget it can be pretty difficult to navigate the over-priced, fine-dining and mid-level, still-way-too-fucking-expenny restaurants when we’re looking for a place to eat out with some friends. So, having “sacrificed” my stomach and my wallet for some much-needed research, I bring to you (in no particular order) the top 10 most affordable, quality restaurants on Cuba Street and what to expect from your budget-dining experience.  1. Ram’s Restaurant  This little hidden Chinese restaurant was an excellent discovery I made on a late Friday date night, out of pure chance, when all the other restaurants were closing or full. While it’s not much to look at, the food is truly excellent and the prices are what they used to be ten years ago when our parents would take us out to dinner for special occasions. The portion sizes were generous, and we shared a main and a starter between two people, which was more than enough and didn’t cost more than $25 each.  2. Aunty Mena’s Vegetarian Restaurant and Cafe  Right next door, Aunty Mena is bustling and full, and I know why. A fully vegetarian and vegan restaurant, the prices reflect this. Here, with just $15 you can fill up on yummy Malaysian meat-free meals!  3. 1154 Pastaria  Depending on when you visit, 1154 Pastaria can be a good option for some cheap, filling and delicious food. If you’re an early diner, head down here from Monday to Friday between 4pm and 6pm for $12 pasta on select sauces. While you can probably make pasta at home for less, unless you’re Italian I doubt it’ll taste as good as this one!  4. JJ Murphy’s  A crowd favourite, the good old Irish Pub. JJ’s has daily deals which make it worth a visit on your evening trawl for places to eat on Cuba. These include 2-for-1 burgers on Saturday nights, $1 chicken wings on Friday nights and 2-for-1 mains on Monday. In addition, you get to enjoy the amazing atmosphere and live music on Friday nights! A must-visit if you haven’t already.  5. Abrakebabra  More of a takeaway than a restaurant but well-known for its extra large portion sizes for the standard price of a kebab. If you don’t eat much, one kebab will last you two meals! There’s a little lounge in the back where you can sit and enjoy the turkish-style dining experience. Super quality fresh ingredients, and the falafel here is really top notch.  6. Satay Kingdom Cafe  Very simple locale in Cuba Mall serving Malaysian cuisine. There’s some outdoor seating so it's really nice on a sunny evening or for a lunch out. Most mains are around $20, tasty and decent portion sizes.  7. Kisa  This “new” Turkish restaurant on the corner of Cuba and Vivian Street has been full each time I’ve been past. Because of this I haven’t eaten there yet, but judging from how popular it is and the stellar reviews, the food is high quality. Having scoured the menu, it’s got decent mid-range prices, and the mezze lunch platter for $23 seems like a great sharing option if you’re not too hungry but looking for a nice modern locale serving quality, fresh produce.  8. Flying Burrito Brothers  This Mexican restaurant is an icon in Cuba Street dining, and was one of the first places I visited as a teenager dining out with friends. I couldn’t make a Cuba Street dining guide without mentioning it, and while it’s a bit pricey it’s really got something for everyone. The locale has a really authentic feel and the food is just 10/10.  9. Scopa  While famous for its creamy hot chocolates, Scopa is also a good option for what we call “aperitivo” in Italian. This is when you go out with friends and instead of eating dinner you drink alcohol and have some small bites to sustain you. If you want to get drunk in a classy way, this is the spot. They also have $10 margherita pizzas on Tuesdays from 11.30am - 2.30pm!  10. Old Quarter (Asian fusion) (Bao buns for $6-$9)  Asian fusion fans, this is your place. Fantastic for sharing small bites (but be careful, the bill racks up pretty quick!). If you’re very price-conscious they also have bao buns for $6-$9.  Hopefully this guide will help you keep within budget on your next night out with friends or family. Coming up in the next edition of Salient I will be speaking to the readers who love their take-out. In keeping with this week’s theme, I will review the best takeaway spots in and around Cuba Street, for your late-night cravings.  Recipe!  Luxury Drunk-Night Mouse Traps  4 portions Cost per portion: $2.10 (VG) $3.15 (with ham)  Ingredients   - 4 slices of vogel’s bread  - 1 ½ cups grated cheese  - 1 fresh tomato, diced  - 4 button mushrooms, sliced  - 1 egg  - 200g thick ham slices, diced (optional)  - Handful of chopped parsley to garnish  - Salt and pepper  Method  1. Preheat the oven to 180°C. On a baking tray lay out the bread slices. 2. In a bowl mix all the ingredients. Spoon evenly onto the slices of bread. 3. Bake for 15 minutes or until golden brown, and serve.  You can prepare the mix (minus the egg) before you head out for a big night and leave it in the fridge. If you’re sober enough to safely operate the oven (or even better, airfryer) when you get home, crack the egg into the mix, grill and enjoy. Sober you will thank you tomorrow!

Kōrero by: Shay McEwan | Te Aitanga-a-Mahaki, Te Whanau a Kai, Ngāti Pāhauwera Nestled in the emerald embrace of the South Pacific, New Zealand pulsates with a musical heartbeat that echoes the rhythm of its rich cultural tapestry. Embark on a journey where the electrifying fusion of Te Reo Māori and contemporary melodies ignites a symphony of sound that's impossible to resist. Prepare to be captivated as we explore the fascinating influence of Māori music on the dynamic tunes of Aotearoa. Step into the world of Māori music, where every note tells a story of heritage, resilience, and celebration. From the rugged coastlines to the majestic mountains, New Zealand's music scene is a kaleidoscope of diversity, reflecting the waves of cultures that call this island nation home. At the helm of this musical voyage is Te Reo Māori. With its lyrical cadence and profound cultural significance, it weaves through melodies like a thread, adding depth and authenticity to the music. It's more than just words; it's a connection to the land, the ancestors, and the spirit of Aotearoa. We are now in a time where we can witness the resurgence of Māori music on the global stage, fuelled by a new generation of artists. This new cohort are pushing boundaries and breaking barriers with their innovative sounds and fearless creativity. We have had the amazing Dalvanius Prime, who helped spearhead Te Reo Māori in pop music with his hit song “Poi E”, performed by the Pātea Māori Club. “Poe E” reached heights we had never seen before, and from then on we’ve had chart-topping successes. From artists like Stan Walker and Maisey Rika to the boundary-pushing experimentation of groups like WAI.TAI and Alien Weaponry, Māori musicians are carving out their own place in the world of music, infusing mainstream culture with the unmistakable spirit of Aotearoa. From the haunting strains of traditional Waiata that echo through the valleys, to the pulsating rhythms of contemporary Māori hip-hop, pop and rock that reverberate through the streets, Māori music spans across genres and generations, captivating audiences with its authenticity and vitality. New Zealand's music scene is a testament to the country's commitment to diversity and inclusion. It's a place where artists from all walks of life come together to share their stories, celebrate their differences, and spread joy through the universal language of music. Whether you're a local or a visitor, everyone is invited to join the fun and experience the magic of New Zealand's music scene. In a world where diversity is celebrated and innovation knows no bounds, Māori music shines as a beacon of inspiration and a testament to the enduring spirit of Aotearoa. So immerse yourself. Let the captivating melodies of Te Reo Māori sweep you off your feet and transport you to a land where every note is a celebration of life, love, and the spirit of Aotearoa. Get ready to groove to the beat like never before! Arohanui and may the music never stop! Noho ora mai,  Shay McEwan. Te Aitanga-a-Mahaki, Te Whanau a Kai, Ngāti Pāhauwera

( and anyone else doing hookups for cash over Snapchat, Grindr, Insta etc) Cherida Fraser (she/her) Sugaring rights are sex workers’ rights and sex workers’ rights are human rights – so if you are hooking up for cash, or UberEats, or handbags, or gym memberships, or rent or anything else, you have rights! The Prostitution Reform Act (2003) supports human rights and safer sex practices, and sugaring is absolutely covered by this legislation. So even if you don’t think of yourself as a sex worker, as a sugarbaby you are protected. Firstly, it is our human right to refuse or withdraw sexual consent and this is reinforced in the PRA. You don’t have to do any sexy thing you don’t want to, regardless of what you may have agreed to prior. And you don’t have to give any reason either. No one can say “ but you agreed, that’s contract law ”. Human rights supersede contract law.  Clients of full service sex workers sometimes move to apps to seek out less prescribed arrangements. But that can be a red flag. Unsolicited offers on social media can be tempting, but beware that there may be identifying and personal information available to the sugardaddy through your regular profile. Sometimes we get reports that sugardaddies have used personal information to try and extort sex, or have threatened to out sugarbabies to their family if they don’t keep seeing them. Consider setting up a unique sugaring profile which protects your private information.  Sugaring clients might say “ you’re so hot, I can’t wait, I need to see you right now ” and lay it on thick. This can be very complimentary and feel good, but can also be a red flag for boundary pushing once the sex begins. Making hurried decisions can also leave us off guard -  we might forget to text our safety person with our plans, or even just forget to chuck those condoms in our bag. If they are “ very relaxed about what happens”  or want to take time for you to get to know each other, this can be a way of dragging things out for minimal financial investment. It can also be a tactic to avoid explicit conversations about what you are prepared to do, and what you’re not. It could be sensible to say something like “ I’d feel comfortable and safe with you if we discussed expectations and boundaries ahead of meeting up ”. If they don’t want to, it’s a red flag for sure.  At NZPC we can chat through all the things to think about when sugardating. We’re a peer organisation and have plenty experience to draw from. We also have free condoms, sexual health screening clinic, and affordable lube and dental dams. We don’t ask you for your real name. Anonymity and confidentiality are at the heart of our kaupapa.

ETHAN ROGACION (HE/HIM) OPINION: The Government has recently put a transport policy back onto the table, one which originally reared its head in as a mooted Let’s Get Wellington Moving proposal. Transport Minister Simeon Brown has taken the LGWM ‘long tunnel’ and made it his own, adding snappy capitals and floating the idea of the Long Tunnel™, a massive 4km stretch of underground road which would go from The Terrace to Kilbirnie. The project would be one of the most expensive infrastructure projects in this country’s history, according to reports in The Post  and NZ Herald . I personally don’t think $2 billion dollars is that much money to cut down driving times across the city by a Little Bit. But just think about all the “buildings” and “people’s houses” that need to be knocked out of the way! Indeed, I think we need to celebrate the Government’s bravery, solving a problem that probably exists and might be real!  Namely, Long Tunnel™ would make it much easier to get from the CBD to the airport, which is of interest to every student looking to flee this city as soon as they finish their degree. The Minister even indicated that he’s instructed Waka Kotahi NZTA to consider adding a singular  exit to the Tunnel™ at the Basin Reserve; how generous! Who cares about the fact that commuters using SH1 tend to exit off the motorway in Te Aro anyway. This got me thinking: if this non-problem can be solved with a tunnel, what else can a big hole in the earth help out with? What about an underground tunnel connecting Kelburn and Pipitea campuses? Or a tunnel direct from my flat to Cuba St? If the government can build tunnels and make new roads, serving a small percentage of Wellington commuters, with money that could instead be spent solving this city’s actual infrastructure issues and improving public transport, then why can’t I!

Reflected by Xavier Farrow-Francis (any/all) In June of 2023, the UK record label and experimental pop music collective PC Music made a shocking announcement: they would no longer be releasing any new material. While there may have been subtle hints leading up to this decision, it still came as a stab to many fans. Since 2013, the likes of A. G. Cook, Danny L Harle, Hannah Diamond, and SOPHIE (just to name a few) have been slowly shifting the landscape of pop music. Through their experimental and hyper-digital approach, PC Music crafted a unique, futuristic and forward looking sound that no one had quite heard before. Bursting onto the scene in 2013, the indie and underground music world quickly caught on to the daringly brash aesthetics of the collective. PC Music defined themselves to the media with bright, poppy hyperfemininity and cuteness, while warping, and altering that super-sweet, girly product. These themes, however, became confused for a postmodern brand of satire, a critique of pop culture and consumerism. While it’s certainly interesting to look at what PC Music was putting out through this lens, it risks depicting their art in a disingenuous way; PC Music as critics, rather than appreciators of pop culture trying to contribute to it in a new and fresh way. Regardless of this (mis)interpretation, PC Music and their many collaborators would go on to influence the culture over their lifespan. Their impact can be seen in the genre explosion of hyperpop (made famous by 100 gecs or Dorian Electra), which PC Music essentially spearheaded. But it doesn’t just stop there… Let me introduce you to some of the label's key figures and affiliates, and explore how their unique sounds and personalities have made their way into some of pop’s most celebrated circles. A. G. Cook The label’s founder, Cook’s fingerprints are found on a good 75% of things that came out of PC Music. A record producer, songwriter and solo artist, his sound is defined by distinctly twinkly and glistening synths, as well as harsh and metallic silver electronic sound design. Recently, he was described by his close collaborator Charli XCX as “the chord god”. He’s lent his signature touch to uplift the work of labelmate Hannah Diamond, as well as XCX and Caroline Polachek. Cook has since been found on projects by megastars like Beyoncé and Troye Sivan, as well as well-respected indie veterans like Jónsi, of Sigur Rós’ fame. He even helped to write and produce the theme song to Evangelion: 3.0+1.0 Thrice Upon a Time , performed by J-pop legend Hikaru Utada. SOPHIE While never officially signed to the label, SOPHIE is arguably the person that revolutionised PC Music’s sound. Remaining anonymous for many years, she beautifully introduced herself to the world as a trans woman in 2017. Much of her music explored themes of identity, love, and sensuality. SOPHIE’s defining sonic characteristics were her rubbery and plastic sounding electronics, massive bass, and sparkly synths. Across her career, she worked with the likes of Madonna, Vince Staples and Kendrick Lamar, always uplifting the voices of smaller artists and friends she believed in along the way. SOPHIE tragically passed away in January 2021, but her legacy and inspiration lives on through her close collaborators, and other admirers of her truly innovative music. Charli XCX Known for her multi-platinum hits like “Boom Clap” and “Fancy” with Iggy Azalea, Charli XCX actually had her come-up in outsider club scenes. After landing a major label deal at age 18, she quickly grew tired of the radio-friendly mentality being pushed on her. Then came along SOPHIE and A. G. Cook, and everything changed. They, and many other members of PC Music, became some of her closest collaborators; together crafting songs like “Vroom Vroom”, “Unlock It”, and “Speed Drive” from the Barbie soundtrack: all some of her most successful and viral hits. Now, Charli is now well-known for her leftfield approach to mainstream pop music. By taking risks with her sound and staying true to her ethos, Charli’s presence in the music industry has paved the way for the next generation of pop artists, with many fresh new names in the scene citing Charli as an inspiration, such as Magdalena Bay. Hannah Diamond Hannah Diamond was and always will be PC Music’s pop princess. Outside of being a singer, Hannah works also as a photographer and visual artist, meaning every inch of her essence is meticulously crafted by herself. Acutely girly, she presents herself with hyperperfection. From her sweetly innocent yet flawless and digitised vocals, to her glossy and ultra-polished visual touch, Hannah Diamond proudly builds herself on thorough futurism and digitalness. Over the years, she’s photographed the likes of Alexia Demie, Migos’ Offset, as well as fellow hyperpop icons Charli XCX, Kim Petras, Bladee and Ecco2k. Some hold a Hannah Diamond photoshoot in the highest regard: an opulent stamp of approval in the visual world. Danny L Harle Greatly inspired by the exuberant energy of Euro-house, vocal trance and happy hardcore, Danny L Harle was PC Music’s resident silly guy. Just wait until you find out he’s classically trained too… You can sometimes hear twinges of harpsichord-esque synths in amongst his definitively HUGE production style! It’s absolutely magnetic, so it’s easy to see how he drew some pretty big collaborations early on from the likes of Carly Rae Jepsen and Clairo. Harle would also strike a major collaborative partnership with Caroline Polachek, and has co-produced both of her studio albums alongside herself. Since this, Harle has worked with a wild array of artists: PinkPantheress, Rina Sawayama, Liam Gallagher (???), and he’s also co-produced Dua Lipa’s upcoming album with Tame Impala, as well as co-penning the UK’s entry into EuroVision this year! Caroline Polachek Polachek has had an extensive career in the music industry. Originally hailing from indie duo Chairlift, she has a wholly unique star quality about her: from her operatic and seemingly endless vocal register, to her plucky and bewitching production style. Need proof of it? Look no further than Beyoncé reaching out to her to produce a track for her self-titled 2013 album. Polachek became aware of PC Music around 2016 and continues to work closely with the large majority of artists signed to the label to this day. Thanks to Caroline’s critical darling album from last year, Desire, I Want To Turn Into You , a lot of heads were turned towards PC Music’s innovative ideologies on pop. The label may be dormant now, but that does not mean it’s dead. I’d argue they’re more alive than ever! It’s clear to see just how much the effervescent sounds of PC Music have bled into the mainstream. In terms of what’s coming next, we have the Danny L Harle-produced Dua Lipa album on May 3rd, a new Charli XCX album June 7th, as well as A. G. Cook’s new triple album out May 10th! PC Music breathed fresh perspective into pop music, proving its worth and continued potential. I am eternally grateful for what they have provided to the music industry at large, and their innovative imprint will not soon be forgotten. PC Music forever <3

Words by Katie Hunter (she/her)  I played the violin for years. My mum was my first violin teacher and when I was nine I started having lessons at school. I played all throughout high school, in community-run orchestras and ensembles, and even sat a few ABRSM grade exams.  Now my violin sits in the corner of my flat, out of tune, and covered in dust.  Why did I stop? If I’m being honest: I wasn’t happy with my progress. I’d sit in orchestra rehearsals having a personal crisis about how far behind I felt compared to the other players in my section. One day I put my violin down and didn’t pick it up again.  Being a musician is hard. In any creative scene, there’s an underlying desire to be the best, be cheered on by a loving audience in a packed venue (or respectfully applauded for those of you in the classical scene), and —  let’s be honest with ourselves —  afford rent prices (thanks, cost of living crisis). Maintaining passion about something when you’re also pursuing it as a degree and a career is a juggling act. It’s so easy to get wrapped up in the logistical and practical side of music that I think we neglect a crucial aspect of the art form: having fun, trying new things, and self-improvement (but in a healthy, non-competitive way).  When I sat down to talk to up-and-coming alternative band AOSI, I was struck by how their music was grounded in self-growth and developing new skills. I came out of the conversation with a redefined idea of what musical success is, and a better appreciation of personal growth. AOSI consists of rhythm guitarist/vocalist Connor Matthew, lead guitarist Anton Parker, bassist/vocalist Dylan Jonkers, and drummer Ryan Kenton. After moving to Pōneke from different corners of Te Waipounamu to study at Massey, the members did what musicians do best —  they got a jam going. What started as a thrown together performance for an O-Week talent show quickly turned into a four-piece alternative group. Their focus is to aim for growth both as individuals and, as a band, making their name fitting; AOSI stands for Acts of Self Improvement.“The name embodied what I wanted to write about and the energy I wanted us to put forth as a band,” said Connor. “I didn’t want to have a metal or hard rock band that was all gloomy and didn’t really have a greater purpose… I wanted it to be so that people could listen to it and maybe get something greater from it.” The band has strongly adhered to their name over the past year as they’ve navigated the Pōneke and Aotearoa music scene. Since their formation, they’ve played at Dig the Gig, played multiple shows around Aotearoa, and released their debut EP, Prima Materia . They acknowledged how far they’d come individually and as a band, and they’re excited about the new skills they’ve learnt.  AOSI’s latest gig was an O-Week flat party—a lot has changed since that last-minute talent show. “That gig was the first time hearing other people sing lyrics back, which was crazy. Like, sure they’re our friends but it’s the fact they’d listened to our music and taken the time to learn our lyrics and then come and scream them back at us was so much fun,” Anton said.  “We all bounce off each other to learn and grow. At every step of the way we’re always trying to push and learn,” Ryan said. “I quite like following the motto of life’s like an apple; if you’re not growing, you’ll rot.” For the members of AOSI, growth is closely linked with self-improvement. They push each other and the people around them to join in and try new things while having a good time. Restored , the second track on their EP, Prima Materia, features all four of the band on vocals. For Anton and Ryan, it is their first time singing on a track. During one of their recording sessions, I watched them crowd around a microphone and scream multiple takes together, Dylan and Connor dishing out encouragement and advice. When Anton recorded a particularly impressive low scream, the others were ecstatic for him. At one point Connor and Anton’s flatmate was invited to join in. I was asked if I wanted to have a try. It was collaborative and genuinely fun to be a part of.  In any creative scene, there’s an underlying desire to be the best, and music is  no exception. It is this exact fear of being the best, however, that keeps us from trying new skills together—ones that we’d potentially love and be great at. By creating a trusting and open environment among themselves, the members are encouraged to put themselves out there. When I asked the band about their writing process, they told me they started by bringing an idea to the rest of the band. They then collaborate to write all the parts until they have a finished product. Dylan said that working with the members of AOSI has allowed him to become a more collaborative writer. “I can write what I feel is necessary for the song and have full faith in the band to bounce ideas off it.”The band has also picked up new skills when recording their music. Connor, Ryan, and Anton study Music Production or Music Industry at Massey and have used this knowledge to mix Prima Materia . Comparing their latest track to the band’s first single, One Thing Will Flow, Anton described the difference in mixing as “night and day.” He went on, “[d]efinitely with the drums we’ve changed up and experimented with a different way of recording. I feel we’ve got it to a bit of a fine art now where we know we’re going to get a quality recording out of the instrument.” It’s easy to only focus on numerical growth in music, such as Spotify streams, or how many people turn up at your gig. But if you only measure your success this way, at some point down the line, music can stop feeling like a passion and you can lose yourself a little bit. There are so many other forms of growth that are often under-appreciated: learning and refining skills, venturing into new genres, and collaborating with others. We should be celebrating these forms of progress because even if they aren’t as clearly definable and measurable, they are still important.  To all of the musicians out there, the next time you find yourself stressing out over how your music is performing on streaming services, think about how far your sound has come since you started out. Find people who push you to improve and to expand your boundaries, but most importantly who make you excited. Have a jam. Pick up that abandoned instrument and give it a go. Most importantly, go and support some Pōneke bands.

Words by Te Huihui o Matariki Chi Huy Tran (he/him) | Taranaki Tūturu, Te iwi o Maruwharanui, Ngāti Maniapoto Kapa Haka Across the Seas The power of kapa haka transcends oceans, connecting the Māori diaspora in Australia with their ūkaipō. Three rōpū from Te Whenua Moemoeā each left an indelible mark on the competition a few days ago. Manawatu Mai Tawhiti, Te Kapa Haka o Te Hau Tawhiti, and Te Atawhai Puumanawa stood out with their beautiful performances, a testament to the vibrant cultural exchange between Aotearoa and Australia. This exchange not only preserves traditional Māori performing arts, but also reinforces the cultural identity of Māori living abroad. It's a celebration of unity, showcasing the resilience and adaptability of indigenous traditions in a modern world. By honouring both the land of Australia's First Peoples and their own whakapapa, the kapa haka performers embody the spirit of kaitiakitanga (guardianship), ensuring our tradition thrives for generations to come. They will be heading to Ngāmotu-Taranaki for Te Matatini in Feb 2025. Dengue fever outbreak in Samoa Samoa spent last week bracing for a dengue fever outbreak declaration. With over 250 cases, primarily in Upolu's northwest region, the nation urges continued protective measures. Symptoms include high fever, nausea, rash and body aches. Authorities are mobilising a national cleanup campaign to destroy mosquito breeding grounds. The latest report highlights 22 new cases, totaling 40 in March, with children aged 5-9 and seniors over 60 most at risk. Northland Pushback: Mayor Criticises Government's Māori Wards Changes Far North mayor Moko Tepania has condemned the Government's proposed changes to Māori wards, with Northland councils gearing up to resist. Under the plan, binding referendums are mandated for Māori wards, allowing councils to axe them without consultation before 2025 elections. Tepania has lamented the erosion of council autonomy, and increased community burden. Ngāti Kuri chairperson Harry Burkhardt advocated for preserving Māori wards, emphasising their role in community representation and participation. The Far North District Council's Māori ward has been hailed for boosting grassroots involvement, and for supporting environmental initiatives. They are set to formally oppose the Government's plans.

DAN MOSKOVITZ (HE/HIM) 26 months on, and the Russo-Ukrainian war looks no closer to ending.  An initial successful Ukrainian counter-offensive in 2022 raised hope for a Ukrainian victory, but their 2023 follow-up offensive failed to make the front lines budge. Russia, meanwhile, has been making incremental progress across the front line, though Ukraine appears to be extracting a high price in blood for each step. It’s all very reminiscent of the First World War, where defensive trenches turned any attacking movements into bloodbaths for the offensive side.  Still, there are warning signs for Ukraine. $60 billion of American aid has been held up in Congress by hard-line Republicans, while an EU promise to deliver a million shells failed to reach its goal. The result? Ukraine is short of ammunition, and weaker than it should be.  The current front line extends across Ukraine’s four eastern oblasts of Kherson, Zaporizhzhia, Donetsk, and Luhansk. All four were controversially annexed by Russia (without even fully controlling them) via dubious referendums in 2022. As such, the Russian claim is not widely recognised. These oblasts are the greatest sticking point to any peace deal, according to Jim Headley, an associate professor of politics at Otago who studies Russian foreign policy. Russia says they’re Russian, Ukraine (and everyone else) says they’re Ukrainian.  While very clear that these are not predictions, Headley laid out some potential scenarios for how this war could end. The first would involve Ukraine surrendering the oblasts for peace. “It’d be very difficult for Ukraine to drive Russia out of these territories, but equally difficult to accept losing these territories to Russia,” says Headley. “But in any agreement, Russia would need to accept the rest of Ukraine as independent. But how can Ukraine trust that? You’d probably need a commitment from the west to defend Ukraine if Russia were to attack again.  “I think it would take a long time to get there. It would require a lot of change in western politics around supporting Ukraine, and also changes in Ukrainian policy to accept that they’re not going to get them back.” An equally realistic scenario according to Headley is the four oblasts mimicking the situation in Crimea before the war. Crimea, a Ukrainian peninsula, was illegally annexed by Russia in 2014. While not internationally recognised as Russian land, it has been controlled by Moscow since annexation.  This scenario sees things reach either stalemate or cease-fire, but not true peace.  But again, we’re a long way from this outcome too. Not only would it be difficult for the west and Ukraine to stomach, but Russia would also be far from happy.  “Putin has ramped up the rhetoric about trying to take the whole of Ukraine, so it would take time for his propaganda machine to sell the idea that they’d been successful with just stalemate in the oblasts,” says Headley. There is always the mythical revolt against Putin, but it’s unlikely. There’s very little sign of revolution, and even if one did spontaneously occur, any replacement would come from within the system. “An alternative leader isn’t going to be someone who comes in and says the war was a big mistake, Putin was evil, and the West is our friend. There's just no constituency for that.”Rather, the bigger question for Ukraine is November’s presidential rematch between Joe Biden and Donald Trump.  “Ukraine is reliant on Western support. That’s expensive and depends on local politics.  “If Trump gets in, who knows what's going to happen?” After all, Ukraine’s struggles are already in part due to hard-line congressional Republicans preventing $60 billion in aid from reaching Ukraine.

Words by Goose (she/they) It’s true. Check it out: Isn’t she pretty? Look at her, so peaceful. Just a girl taking a nap. Wish I was brave enough to nap in public. She’s called the Sleeping Hermaphroditus . She dates back to Ancient Rome, but her original sculptor is unknown. The mattress she sleeps on in the Louvre was sculpted separately, by Gian Lorenzo Bernini in the 1600s. There’s also a copy of her in the Vatican, and a number of national museums around the world.  In ancient myth, Hermaphroditus was the child of the gods Hermes and Aphrodite, born a handsome young boy and through divine shenanigans morphed into a divine being between genders. Her form is inspired by Venus, goddess of beauty, with a notable twist. They aren’t the only trans-adjacent sculpture out there—frequent depictions of Dionysus/Bacchus in Greek and Roman mythology show the god of drink and partying as a genderfluid being, and most other gods have shapeshifted across genders once or twice in the old stories. I remember seeing Hermaphroditus for the first time, scrolling absentmindedly through a Tumblr feed when all of a sudden she graced me with her presence. It was a revelatory moment—a soft “Oh, she looks a bit like me”, followed by “Oh, she looks a bit like me in the Louvre ”. She’s a work of art, naked but not meant to be sexy, just a beautiful, resting body. I feel a lot about her. I’ve written poetry about her, I need as many people to know about her as possible, to know and see that beautiful trans bodies have always been around, and even in ancient times we were seen as works of art. a 2nd-century Bacchus, also in the Louvre

Mentord by  Micah Nicholson (He/Him)  A caveat, that this article is largely written with trans people in mind. However, there’s no reason that only trans people can change their names, and there’s no requirement for a trans person to do so either. All human experiences are unique, and this article is intended as a guide, not a set of instructions. So! You want to change your name. Maybe you’re bored of it, and jealous of all your friends who had more creative parents. Maybe you hate it, and are sick of hearing the same stupid joke over and over. Maybe you, like many trans folks, feel that that arrangement of letters and syllables simply doesn’t encapsulate the person you are becoming. Whatever the reason, you’ve decided to sit down and pick a new name—good on ya! The first thing that most folks say when they want to change their name is that they don’t know where to start. Don’t fret! That’s what this article is for. The advice most people are given is to hit up the baby name websites. While this is solid advice, the issue is that this really doesn’t narrow things down at all.  Before sitting down and diving headfirst into the internet, make a list to yourself of what you want from your new name. Something gender-affirming? Something traditionally masculine? Feminine? Neutral? Do you want a name that reflects the end of the gender binary you feel more comfortable with, or a name that subverts that expectation?  Second, think about what influences you want your name to have. Do you have a favourite character you want to pay homage to? Is there someone from primary school that had a really cool name that you remember being incredibly jealous of? If you’re able to, reach out to parents or older siblings who remember when you were born. Ask them what the discussions were around the reasons for picking your name. Family legacy? Cultural impact? They just thought it sounded cool? Think about if this is something you want to emulate with your new name—plenty of trans folks find themselves gravitating towards the name their parents had as a backup, in case they had been born the opposite sex. (I would’ve done the same, if my baby cousin hadn’t been born a few years before I came out and stole the chance from me!) Is there a noticeable theme in the naming scheme in your family? My siblings both have biblical names, and while my deadname wasn’t biblical, I did accidentally pick a name that matched that tradition! If you aren’t vibing with that, it’s time to branch out. The next question to ask yourself, do you want to go in or outside the box? There’s plenty of names out there that started off as words for other things, and simply got co-opted into names over time. While it is a massive stereotype that trans people name themselves after inanimate objects, there’s no reason to let the existence of that stereotype stop you from being creative. Besides, there’s plenty of parents out there who name their cis children unusual names. (My sister has a friend named ‘Star’, and both her siblings have celestial names as well.) And think of the number of plant names that are already in popular circulation, Roses and Lilies, Sages and Ferns. Don’t let yourself be limited by what’s considered already acceptable. I’m a big fan of lists, personally. And keeping track of all the potential names can be a lot! So I highly recommend actually having a written record of your search. List your sources of inspiration. Is there a time period you particularly like? What were popular baby names in 1963? What were popular baby names in 1742? Or maybe you want to swing the other way, ‘Josh’ might have been the most popular name for boys in 2002, but it doesn’t even hit the top 50, as of 2022. What’s been trending for the newer generations? Anything that particularly speaks to you? What are the types of sounds you like? Keep track of all the things that jump out. When that list starts to narrow, start thinking of a few other things. How does this name sound with your last name? Does it roll off the tongue? Do you want  it to? What spelling of the name do you like? What pronunciation? Be aware of all the different ways people can, and will, fuck up both of those things. Work out how much that’s going to bother you. And underestimate the intelligence of people, in this case. No matter how obvious you think your name is, I guarantee you there is someone out there who will get it SPECTACULARLY wrong. I can’t count the number of times I’ve been Mika, Mike, Micha, Mitch, Meeka, Michah, Meecha, and any number of other variations.  If you’re able, start running the short-list by your friends! A name might sound cool in your head, but feel completely ridiculous when you try to introduce yourself to someone with it. Hit up a cafe where they announce your name when your order is ready—The Lab does this! It’s also a great way to discover some of the potential mistakes people will make with your name.  Don’t be afraid to experiment. Don’t be afraid to change your mind. I went by three different names after realising I was trans. The first one, essentially only online, the second, to a very select group of people, and the third is the one I still have today. But I don’t think I would’ve necessarily settled on ‘Micah’ for good. It’s on my legal documents now (and that is a pain in the ass to change!), so that’s what it is for the foreseeable future, but a huge part of me wishes I’d experimented more when I was first working these things out. A very close friend of mine, at the time, complained that I was being annoying by changing my name “too often”, and so I settled far quicker than I felt I was ready for. If people in your life tell you that, ignore them. They don’t know you, they don’t know how easy or difficult this is for you. If you value finding a name that fits right, then they should value that journey for you too. And if they don’t? Fuck them! You deserve to go crazy and find something that feels you .  Final notes to wrap up with, please, for the love of god, think about any potential implications with the name you pick. While it’s less of an issue these days, the early 2010s had a massive surge of white trans guys naming themselves after their favourite Japanese anime character. I respect the concept of claiming your favourite character’s name, but do actually think  before you go jumping off the deep end. Double-check your initials, too. I did partially pick a middle name beginning with ‘A’, for the sheer comedy of having my initials spell MAN, but I also know people out there who have wound up with less-than-ideal combinations. (I knew one unfortunate person who had the initials KYS. On the other hand, a friend of mine deliberately picked names to make their initials spell LOSS.)  And hang onto that list of discarded potential names. You never know when it might come in handy. Picking a middle name was something I found a hundred times more difficult than finding a first name, and that was partially because I had forgotten all the things I’d liked and considered the first time round.  At the end of the day, whatever you want to name yourself, that’s up to you. Names are important. They help us know who we are, and who we want to be. They’re one of the first pieces of ourselves that we offer to other people, and one of the first pieces of another person that we are lucky to receive. So long as you feel content with the name you have to share that’s all that matters, and fuck anyone who tries to tell you otherwise.