Capital 56 by Capital

CAPITAL TA L E S O F T H E C I T Y

CRIME TIME NOVEMBER 2018

GIFT GUIDE

ISSUE 56

$4.90

THOU SHALT NOT COVET

CLOTHES FOR BROS

Th e covet i s s ue

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WHANGANUI

OPERA WEEK WHANGANUI

7 - 20 JANUARY 2019 2019 IS THE 25TH YEAR OF OPERATION OF THE NEW ZEALAND OPERA SCHOOL, AN INTERNATIONALLY RECOGNISED TRAINING GROUND FOR YOUNG SINGERS.

Each January, Whanganui Opera Week is proud to present the students of the New Zealand Opera School at public events around Whanganui, the only city in New Zealand to host an internationally acclaimed Opera School. The School is renowned as a training ground for young singers and boasts an impressive roster of alumni, including Simon O’Neill, Ben Makesi, Linden Loader, Kristin Darragh, Bianca Andrew, Oliver Sewell and Darren Pene Pati. This year, to celebrate the 25th anniversary of the founding of the New Zealand Opera School and the inspired leadership of its founder, Donald Trott, there will be a spectacular event held on the Whanganui River: “OPERA and AROHA on the RIVER”. Taking part will be alumni and current students of the School, including SOL3 MIO’s tenors Pene and Amitai Pati, mezzo-soprano Kristin Darragh and soprano Isabella Moore as the headliners. Whanganui’s historic riverboats, the Waimarie and Wairua, will be the stage for “OPERA and AROHA on the RIVER”, with a floating pontoon between the shore and the boat acting as a pathway. The riverboats will be joined by the stirring scene of the Putiki Marae Waka making its way up the awa bearing waiata performers. Guests can watch from their choice of a VIP table or a picnic on the riverbank. The two weeks of Opera will also include a lunchtime recital with the Dame Malvina Major Scholars from New Zealand Opera, two public Master Classes, a service in the magnificent Collegiate School Chapel and “Great Opera Moments 2019”, an evening of arias staged magically in our own Royal Wanganui Opera House. Twenty-one students will benefit from the training offered by the internationally acclaimed principal tutors, Della Jones, the celebrated mezzo soprano from Wales, and Russell Smythe, Vocal Studies Professor from London. The vocal coaches and accompanists include Professor Terence Dennis, Bruce Greenfield, Dr Greg Neil, David Kelly, Luca Manghi, Sharolyn Kimmorley, Tim Carpenter and Travis Baker. Luca Manghi, an Italian language coach, and Jon Hunter, acting and stagecraft, complete the team. Take some time out to immerse yourself in Whanganui Opera Week, a unique celebration perfectly suited to a rich historic town that embraces the arts. For details, see www.whanganuioperaweek.nz or www.operaschool.org.nz

WHANGANUI

VINTAGE WEEKEND DOWNTOWN WHANGANUI ON WELLINGTON ANNIVERSARY WEEKEND

18 - 21 JANUARY 2019 JOIN THE FUN THIS JANUARY AT WHANGANUI’S BIGGEST PARTY, FEATURING A WONDERFULLY CURATED PROGRAMME OF EVENTS WITH A VINTAGE THEME.

Over three days and nights during the Wellington Anniversary Weekend January 18 - 21, locals and visitors will come together to celebrate the best of times at Whanganui Vintage Weekend. We think of vintage as something from the past of high-quality, especially something that represents the best of its kind. Whanganui Vintage Weekend events are a showcase of the best from eras gone by, brought to life with entertainment, activities, food, drink and fashion, all with the historic and award-winning architecture of one of New Zealand’s oldest cities as the backdrop. THE WEEKEND ITINERARY INCLUDES: The Retro Market - Browse local artists, artisans growers and producers as the weekly Riverside Market takes on a vintage flavour Rivercity Caboodle - Have hours of fun at the colourful vintage street carnival with live music and entertainment on two stages Whanganui Vintage Dazzle Ball 1940s - Get out your glad rags for a night of glamour, featuring the NZ Air Force Swing Band Vintage Fair - Find a treasure amongst the vintage, retro and antique collectables Riverside Shindig - Relax at the riverside festival featuring upbeat tunes, the vintage fashion show and plenty of food stalls Vintage Hullabaloo - Get the whole family involved in races and children’s games from yesteryear

Vintage trains, planes, boats and automobiles also star throughout the weekend, with DC3 sightseeing flights operated by Air Chathams, the Vintage Car Club parked along Victoria Ave, vintage train rides, a classic car rally, rides on our restored paddle steamer and more. Local retailers join the party with vintage-dressed shop fronts and stalls, while bars and restaurants serve up treats inspired by the era of their choice. Now is the time to book your accommodation and start planning your vintage outfits… pick an era you love, any era, and experience the best of times in Whanganui this Anniversary Weekend 18 - 21 January 2019. www.vintageweekend.co.nz

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CAPITAL

MADE IN WELLINGTON

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he term ‘to covet’ is an old fashioned one these days. We are none of us quite sure where the idea originated, but bravely we have tackled it and alongside our helpful gift guide it is fitting for the lead up to Christmas. See p 22 for how to find the ‘very thing you wanted.’ Writer and renovator Michael McDonald has given us an essay on covetousness, and we have talked MG cars with collectors and rare watches with an enthusiastic salesman, and eyed up fashion on young men from the Hutt. Whitebait, that very coveted delicacy features in food from the Shearers and we have talked shoes with the well shod Samara Collins. Isabella Cawthorn wants us all to wear out our shoe leather with more and better walking about the city, but firstly to wear out our local body politicians on the subject of getting Wellington moving. Coveted collectables in their time were historic postcards. Mathew Plummer, a ‘small’ collector of such things, takes a look back at the Capital as it was when they were painted. Sarah Catherall looks at a house full of enviable collectables. And of course much more.

C O N TA C T U S Phone +64 4 385 1426 Email editor@capitalmag.co.nz Website www.capitalmag.co.nz Facebook facebook.com/CapitalMagazineWellington Twitter @CapitalMagWelly Instagram @capitalmag Post Box 9202, Marion Square, Wellington 6141 Deliveries 31–41 Pirie St, Mt Victoria, Wellington, 6011 ISSN 2324-4836 Produced by Capital Publishing Ltd

PRINTED IN WELLINGTON

See you in December. Alison Franks Editor editor@capitalmag.co.nz This publication uses vegetable based inks, and FSC® certified papers produced from responsible sources, manufactured under ISO14001 Environmental Management Systems

The opinions expressed in this magazine do not necessarily reflect those of the publisher. Although all material is checked for accuracy, no liability is assumed by the publisher for any losses due to the use of material in this magazine. Copyright ©. All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form without the prior written permission of Capital Publishing Ltd.

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Contributors

MATTHEW PLUMMER Writer Matthew is a business strategy consultant with Beca. In his spare time he runs the Old Wellington twitter account (@oldwgtn), and heads into the bush. He’s a seventh-generation Wellingtonian – and he promises us he is not a postcard collector.

S A K U R A SH I BATA Photographer Sakura is a photography student who enjoys fine-point pens, lime milkshakes, and exploring new places to take pictures. Her pastimes include sampling Wellington's donuts and pasta, trying frantically to adjust her camera settings to capture 'candid' moments in time, and daydreaming about the perfect kitchen.

Stockists Pick up your Capital in New World, Countdown and Pak’n’Save supermarkets, Moore Wilson's, Unity Books, Commonsense Organics, Magnetix, City Cards & Mags, Take Note, Whitcoulls, Wellington Airport, Interislander and other discerning region-wide outlets. Ask for Capital magazine by name. Distribution: john@capitalmag.co.nz.

Submissions We welcome freelance art, photo and story submissions. However we cannot reply personally to unsuccessful pitches.

MUDIWA NYAHWA D e si g n i ntern

MICHAEL MCDONALD Writer

Mudiwa is a design student at Massey University. If you’re in Lower Hutt, you might catch him hanging out and skating with his friends at the Dowse Art Museum. When he's not there, he is often plugged into his headphones listening Frank Ocean on repeat.

Michael McDonald has had a long, interesting, and varied career as a self-employed writer, director, and producer in the worlds of television and advertising. Currently he lives in the southern Wairarapa where he employs his time restoring an old cottage.

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From 28 October, fly all-inclusive from Wellington to Brisbane, Melbourne and now Sydney with Virgin Australia.

T H I S I S H O W W E F LY Entertainment on your own device

CONTENTS

12 LETTERS 14 CHATTER 16 NEWS BRIEFS 19 BY THE NUMBERS 20 TALES OF THE CITY

HOEA TŌ WAKA Mara TK on home, whānau and Meetinghouse Records

C OVET Michael McDonald looks at what we value

THE GREAT WELLINGTON GIFT GUIDE

BOLD MOVE 26

CULTURE

Isabella Cawthorn says it's not too late to get Welly moving

#MakeYourBellyHappy True Brownies | Sweet Treats | Coffee www.lashingsfood.com

METRE BY METRE The Botanic Garden

CONTENTS

ART AT TA C K

SEVENTEEN DEGREES

Wall space is at a premium in Frances Bennington’s house

Spring fashion for men

58 FASHION 61 LIFESTYLE BRIEFS

72 74 77 78 79

SHEARERS’ TABLE GRAPE MINDS LIQUID BRIEFS RE-VERSE BY THE BOOK

POST MASTER Matthew Plummer on the Fullwood postcards

THE GIRL WHO HAS EVERY THING Take a peek inside the Little Mermaid’s jewellery box

69 70

FISHY BUSINESS EDIBLES

80 CULT FOLLOWING Real life inspires winning crime writer Jennifer Lane

92 TORQUE TALK 95 WĀHINE 97 WELLY ANGEL 98 CALENDAR 100 GROUPIES

LETTERS

STRUGGLING TO SEE UP CLOSE LATELY? Try the multifocal contact lenses that feel like nothing at all.

FURTHER TO WINTER OF DISCONTENT Congratulations on Tony Randle’s article about the GWRC bus stuff-up. (Cap #55, p 36) I was aware that Greater Wellington was claiming ‘Cheaper’ as well as ‘Better’. But I wasn’t aware of the exact value of the saving. When you look at $5.8m and convert that to reduced bus services you get to see why there is less capacity. As Wellington residents are paying most of GWRC’s transport rates, it would be interesting to know how much of that revenue is allocated to Wellington’s public transport. Given that nothing like this fiasco happened in Auckland when they implemented their public transport changes, it raises questions about the competence of GWRC and its future. Rates allocation, Wellington, (name and address supplied) (abridged) COLD AT THE BUS STOP The summary by Tony Randle of the problems with the buses is very useful. A very helpful outline of the mess we find ourselves in. I am a regular bus user and my point is merely that no bus company that is REALLY putting the users at the centre of their planning would introduce such radical changes in the middle of winter. Clearly not a one of those working on the bus routes has any experience of standing in the rain and cold waiting for buses, let alone those that never come. Karori commuter (name and address supplied) GREAT MAESTRO A really interesting interview with Maestro De Waart (Cap#55, p 29). I am enjoying the work he is doing with the NZSO, and think they are making great music with him. Long may his work continue. Fangirl, Wellington (name and address supplied) VISITOR SUGGESTION I’m a visitor from Christchurch and as I parade around Oriental Bay on occasion I walk past that round thing by the sea that looks like it was a restaurant. Someone said it’s the band rotunda and was a restaurant. But there’s nothing happening there now. This is a surely a prize spot in Wellington, and it should be used for something. I imagine most of the restaurant equipment is still inside. Maybe it could or should be offered to aspiring restaurateurs on limited-time basis or as a prize for doing well at cooking school … or something.

to 77 Customhouse Quay

Mary Berry, Christchurch, (name and address supplied)

mgoptometrist.co.nz 77 Customhouse Quay

Send letters to editor@captalmag.co.nz with the subject line Letters to Ed

473 6275 12

L I T T L E P E N G U I N S / KO R O R Ä&#x20AC; L I V E A L L A R O U N D O U R C OA S T W E N E E D TO LO O K A F T E R T H E M We need to protect them from our dogs and our cars, and create a predator free habitat where they can breed in safety. The Wellington Branch of Forest & Bird looks after our penguins through its Places for Penguins programme. Help Forest & Bird help our local wildlife. For more about the Wellington Branch check out our website and join Forest & Bird at www.forestandbird.org.nz/joinus

RD E R S E C TCI H OA N THT EE A

INK INC.

T E A M K E R E RŪ

CONOR O CCLESHAW What led you to getting a tattoo? I'd toyed with the idea of getting a tattoo since I was kinda little. Art or rebellion? Bit of both to be honest, mainly art though I reckon. Why did you chose the design? It’s John Bonham’s symbol from Led Zeppelin IV. He’s my biggest drumming inspiration, so I figured I’d get his symbol tattooed. And no, it isn’t the the Olympic Rings. Family – for it or against? Family are cool with it as long as the symbol had no occult meaning or dodgy secondary meaning behind it. There's other symbols on the album that allegedly do. Where is the tattoo & why? It’s on my inner bicep so it can be hidden.

Forest and Bird have announced that ‘the roundest boi, the devourer of fruit, the whooshiest of whooshes, the mighty kererū,’ has taken out Bird of the Year 2018. The ‘clumsy, drunk, gluttonous and glamorous,’ wood pigeon was a clear winner with 5833 votes. Second place went to the kākāpō with 3,772 votes, followed by the kakī (black stilt) with 2995. Eighty percent of NZ native birds are decreasing in number, but the kererū is doing fine. Thanks to Zealandia, tree-planting initiatives and predator-free projects, kererū numbers in the Wellington region have trebled since 2011.

M ĀO R I M I SP E L L I N G With the council prioritising Te Reo titles for new or unnamed parts of the city, we should probably get the ones that already represent the language right, right? That’s what Berhampore residents think when it comes to Waripori Street, which is a bastardisation of the name of the paramount chief Te Wharepouri. Residents met last month to organize a petition for its correction and to hear Ngā Taonga Sound and Vision pou ārahi, Honiana Love, speak about Te Wharepouri.

C HAT T E R

WELLY WORDS

BELIEVE IN YOURSELF A Wellyworder waiting to cross Cambridge Tce was surprised to see a Metlink bus calling itself a ‘Limo Replacement’. You can’t make a silk purse out of a pig’s ear. But they’re trying.

AVOID CONFLICT Walking through Pukeahu National War Memorial Park one night a Wellyworder overheard a security guard asking a group of skateboarders if they were waiting for their parents to pick them up. Since the boarders were clearly adults our Wellyworder guesses the guard was gently letting them know it was getting late.

UP THE WA L L

GOT A MINUTE? A Wellyworder has a tip to avoid those pesky people trying to sign you up on the street. Accosted while walking home after a bad day, our Wellyworder burst into tears in front of a particularly persistent one. He quickly backed off. Job done.

POSITIVELY WELLINGTON A good Samaritan spotted three older women as they battled the wind at Lyall Bay, arms linked, leaning forward, grim-faced. Our Wellyworder pulled over and offered them a ride which they were delighted to accept for the 100 metres to their destination. ‘We don’t like Wellington,’ the sandblasted Aucklanders told their saviour, ‘but we do like Wellingtonians.’

IT'S COOL TO KORERO Waihotia ēnā! Ehara i a koe ēnā hū kino. Ōku kē. Leave those alone! Those cool shoes aren’t yours. They’re mine.

Artists have been drawing on the hotel room walls at QT Museum Wellington. With permission. The 19 artists were commissioned to create wall art for the hotel’s rooms on the fourth floor – now ‘Gallery 4’. We liked seeing New Zealand’s first Maori wallpaper created by Johnson Witehira. His Disrupted Symmetries features abstracted and sexually ambiguous figures in coitus. The act of sex, as often depicted in Māori carving, has been interpreted as a symbol of whakapapa and the continuation of lineage.

A RT I N T H E PA R K Kapiti Coast District Council has installed KiwiRiders, a sculpture by artist Will Clijsen, at Paraparaumu Beach. This is despite their own Public Art Panel stating that the sculpture didn't offer anything of special note to Kāpiti and that they were not convinced of its overall quality. The sculpture is made of stainless steel under bronze casting to withstand long-term installation in a coastal climate and depicts two children riding a stylised kiwi.

NEWS BRIEFS

FA C E PA L M Get set to welcome Wellington’s newest resident, Quasi 2016 (left), a giant work by Ronnie van Hout. During earthquake strengthening work on the Town Hall and other civic buildings over the next couple of years, Civic Square will be surrounded by hoardings. ‘We thought this great work by Ronnie would give the square a lift,’ says Sue Elliott chair of the Wellington Sculpture Trust. Quasi is due to be installed on the roof of the City Gallery in early December. Sue says, ‘It is a surreal piece of fun and we are very happy to help make this happen!’ Quasi is made of steel, polystyrene and resin and was commissioned by Christchurch Art Gallery Te Puna o Waiwhetū.

W E L LY W I N N E R S

IT'S A PROCTOR FAMILY THING

BU S F U S S

Wellington boasts three new WOW award winners. Johnsonville’s Stephanie Cossens (Cap #55) is the runner-up for the Weta Workshop Emerging Designer Award with her piece Kākāpō Queen. Ancient Dreamscape by Kayla Christensen of Island Bay won second place in the Aotearoa Section, while Seatoun’s Ali Middleton came third in the same section with Tar’White. The 30th anniversary World of Wearable Arts show featured 140 finalist garments by 147 designers from a record 17 countries.

St Patrick's College alumnus, Billy Proctor has joined the Hurricanes on a five-year deal, the longest contract the Hurricanes have offered a player since it formed in 1996. 'I've always supported the Hurricanes and to get the opportunity to play Super Rugby in my hometown is obviously really special,' he says. The 19-year-old utility back is following in the footsteps of older brother Matt Proctor, a promising Hurricanes midfielder, and their father Phil Proctor, a former New Zealand Junior and Wellington representative.

In September the Greater Wellington Regional Council unanimously voted to have the new bus system reviewed urgently, with results to be reported back by December. As we went to print the review had not yet begun. The council said it would soon announce who would lead the review, which would examine the implementation of the new services. They were still aiming to have the review completed by December.

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NEWS BRIEFS

R A I L TA L E S NZTA will be investing $193 million in improving the infrastructure and capacity on the Greater Wellington region’s railway lines. The funding includes $96 million for track renewals, largely on the Wairarapa Line. GWRC Chair Chris Laidlaw says the funding boost is key to expanding the Wairarapa economy. ‘More freight will be able to be transported along the line, which will have long-term benefits for the Wairarapa.’ A further $97 million will be spent improving the infrastructure and capacity on the Hutt and Kapiti lines, including $42 million to double-track the lines between Upper Hutt and Trentham.

S TA R S T U D E N T

B R IG H T E R TA I TA

YOU R T HOU G H T S

Head student of Porirua’s Bishop Viard College, Imran Tautu, was recognised for his outstanding leadership at the Graeme Dingle Foundation 2018 Excellence Awards last month. Imran received the Stars Outstanding Contribution from a Peer Mentor Award, as a mentor making a significant difference in the lives of juniors in their school. Elizabeth Lee, a programme co-ordinator for the Foundation, says Imran’s commitment to the mentoring programme, is ‘a perfect example of what it takes to be successful at life.’

Educational outcomes are up, fewer young people are getting into trouble at school and more are engaged in extracurricular activities, crime rates have fallen and participation in sport is up. That’s what the Hutt City Council has discovered using a Dynamic Deprivation Index analysis, which looked at the impact of investment in the Taita community over the past five years. Lower Hutt Mayor Ray Wallace says it's pleasing to see signs that things are getting better.

Porirua City Council is welcoming feedback from the community as it reviews its District Plan and develops the Porirua Growth Strategy. Mayor Mike Tana says, ‘The Growth Strategy will provide high-level direction around where and why we grow and change, while the District Plan creates rules about how we change and what this looks like, while also directing how we protect our environment.’ The draft District Plan is available to view online and is open for feedback until 30 November.

Y PT R H E N UCM BERS N SEBEW C T I OOND U H ET A SD E R Thou shalt not covet: one of the moral imperatives that Moses told us about – but the guy had clearly never tried the date scones from Moore Wilsons. I defy any prophet to resist that freshly baked goodness. Here are some more covetable things...

Unreal estate The most expensive houses sold around the country so far this year

$3 million

$4 million

$12.5 million

$28.8 million

Wellington (172 Oriental Parade)

Fendalton in Christchurch (pronounced ‘Fendaaaahlton’)

Queenstown

a cliff-top hideaway in Takapuna, Auckland

2.4 million 2.3 2.2 2.1 2.0 1.9 1.8 1.7 1.6 1.5

Streets ahead Wellington streets with the highest median house price

$2.4m

$2.0m

$2.2m

$1.9m

Bayview Terrace, Oriental Bay

Grass Street, Oriental Bay

McFarlane Street, Mount Victoria

Market Lane, CBD

Stash the cash Some Wellingtonians with money in the bank

$600 million

$500 million

$300 million

$50 million

Bob Jones

Peter Jackson

Mark Dunajtschik

Steven Adams

property development

basketball

film making

property development

all estimates according to NBR richlist or Wikipedia

The finer things

$4 million

$495,000

$1,597

$3.50

price for an Aston Martin One-77 in an Auckland showroom (one of only 12 right-hand-drives made)

price for Don Binney’s Dotterel Rising, Te Henga 1964, sold at Dunbar Sloane earlier this year

cost of a bottle of Chateau d’Yquem at Regional Wines and Spirits (it’s easier to pronounce after drinking it)

price of a long black at most Wellington cafes – go on, spoil yourself

Compiled by Craig Beardsworth 19 19

TA L E S O F T H E C I T Y

Sole searching W R I T T E N BY F R A N C E S CA E M M S P H OTO G R A P H BY B R I T TA N Y H A R R I S O N

READING

COFFEE

ARTIST

CHEAP EATS

ACTIVITY

The Subtle Art Of Not Giving A F**k by Mark Manson

Raumati Social Club

Jay Hutchinson

The Fisherman’s Table

Table tennis

We wouldn’t mind walking a mile in Samara Collins’ shoes.

amara Collins spends her days surrounded by beautiful things, as the owner of I Love Paris shoe store. With such easy access to beautifully made footwear, one has to ask − what does Samara have in her cupboard? ‘I always need some fresh new sneakers in my wardrobe,’ she admits. ‘At the moment I am obsessed with the retro styles of French brand Veja.’ Samara commutes daily from Raumati Beach to her shop in the Old Bank Arcade, which was voted Best shoes in Capital’s Best Of Awards earlier this year. ‘The store is like an extension of my home,’ she says, ‘I decorate it with art and furniture and play my favourite music and all day I get to meet interesting people.’ At home up the coast Samara is a regular at the Raumati Social Club where she enjoys, ‘delicious brunches, good vibes and hands-down the best coffee, courtesy of local roastery Dark Horse.’ Samara and her two-year-old daughter Marni often stop by on weekends before they hit the playgrounds, pool or beaches in Kapiti. She says they’ll inevitably have a hoon on the miniature train at Raumati Beach or a blitz in the splash pad. ‘Then it’s home where we make a pizza together for dinner.’ Her favourite place for cheap eats is the ‘retrotastic’ Fisherman’s Table in Paekakariki. ‘You can recline in their original 1980’s nautical themed Lounge Bar for a glass of wine before heading to your booth for fresh fish

and their “all you can eat salad boat”.’ Samara collects art, objects, furniture and music. She’s a fan of embroidery artist Jay Hutchinson, and says she can’t wait to finally check out his Conversation and an argument with my sister, circa 1988, which is on permanent display at the QT hotel. The item she most covets is, ‘a photographic portrait by Yvonne Todd.’ Samara says her guilty pleasure is reading music bios. ‘I can’t get enough of them! I recently read The Confessions of Rick James: Memoirs of a Super Freak which was pretty next level.’ She describes herself as ‘a dedicated lover and collector of soul/funk and disco music from the late 1970s to mid-1980s.’ Samara heads to Sydney, her favourite city outside New Zealand, a couple of times a year for work. ‘There are always fantastic new stores which inspire me and fabulous cafes and restaurants. I love the mix of cultures and styles there. It’s an invigorating place.’ Back on Kiwi soil she knows she’s home when she sees the Roger Walker apartments in Haitaitai. She says, ‘I always look out for them’ before heading through the tunnel and giving a hearty HONK on the horn. The architecture is her favourite aspect of Wellington. ‘So many decades and styles all tucked together in a glorious clash which should be so wrong but is oh so right... and so uniquely Wellington.’

GIFT GUIDE

The great Wellington gift guide Does it feel like you go from ‘what? Christmas music already?’ to ‘it’s Christmas eve and I haven’t bought a single gift’ in the blink of eye? Fear not, here’s a handy guide to help make that Christmas rush a little more manageable. We’ve got ideas for hims and hers and kids and work mates – all from awesome local business.

Voucher Under $40 Secret Santa Female Male Kids Significant other Alcohol NZ Made Hard to buy for Food

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Natty: 476 Adelaide Rd, Berhampore Good Fortune Coffee Co: 160 The Esplanade, Petone Wellington Apothecary: 110 Cuba St Juliette Florist: 69/72 Boulcott St Havana Brothers: 2/19 Arthur St Small Acorns: Cnr Blair & Wakefield St Kowtow: 29 College St Kiwi Conservation Club: kcc.org.nz Caffe L’affare: 27 College St Unity Books: 57 Willis St Cranfields: 40 Johnston St Karma Cola: karmacola.co.nz Whirlwind Designs: 9A Park Rd, Miramar Trade Aid: 82B Victoria St The Paper Rain Project: 68 Manners St Egmont St Eatery: 11 Egmont St Pukaha, National Wildlife Centre: SH2, Mount Bruce Hot Yoga: 250 Wakefield St Bud Florists: 242 Fergusson Dr, Silverstream Lumen Clothing : Level 1/ 182 Vivian St Freedom Farms: freedomfarms.co.nz Mooma: mooma.co.nz EAT: 128 Wakefield St Made. It: 103 Victoria St City Centre Wine and Spirits: 2/4 Waring Taylor St Mr Go’s: 59 Taranaki St Ekor Bookshop & Cafe: 17 College St

GIFT GUIDE

We love national radio. Printed in NZ on 100% unbleached cotton tea towels.

Fairtrade and certified organic, this is a cup of delicious. Enjoy hot or cold!

Sunshine in a jar. A nourishing & restorative skin balm handmade in Wellington.

Radio NZ junkie tea towel, $20, Natty

Drinking chocolate, $9, Good Fortune

Sun wind sea balm, $39, Wellington Apothecary

A fresh bunch of flowers delivered that will keep them smiling week after week.

Scorched almonds are so last Christmas, give organic almond mylk instead.

A Castle beach towel is not just nice, but a real damn nice Christmas present.

Flower subscription, $120, Juliette Florist

The Brothers coldpressed mylk $6.50 – $7.50, Havana Brothers

Castle Damn Nice beach towel, $99, Small Acorns

The perfect Summer dress – architecturally inspired, made from organic cotton.

Kiwi Conservation Club will inspire your kids to get into the natural environment.

A compact espresso machine designed for environments where space is at a premium.

Daisy Dress – Shadow Print, $249, Kowtow

KCC membership, $24, Forest & Bird’s KCC

Rocket Espresso Appartamento, $2,900, L’affare

GIFT GUIDE

Memoir/history of Parihaka by Rachel Buchanan, published by BWB Texts.

Make gift giving a joy with whimsical coasters and placemats.

Treat someone this Christmas with a box of delicious, organic & fairtrade sodas!

Ko Taranaki Te Maunga, $15, Unity Books

English placemat, $19, Cranfields

$45 for a box of 15 Karma Cola sodas

Everyone will wish they could live here too with a painted Wellington cushion.

A treasure trove of fair trade inspiration for you and your home.

Marlborough grown and crafted macrocarpa skateboard art with custom engraving.

Evening Pohutukawas cushion, $55 for cushion cover + $10 with inner, Whirlwind designs

Handcrafted bowls from Uganda, from $39.99, Trade Aid

Laser etched macrocarpa, $450, Paper Rain Project

An Egmont St. voucher, great for a gift of breakfast, lunch, brunch or dinner!

Give an experience â&#x20AC;&#x201C; conservation in action. Join a Pukaha Behind The Scenes tour.

10 half-price classes @ Hot Yoga to celebrate 10 years of yoga in the community.

Egmont St. Eatery voucher, $100

$125.00 per person *minimum of 2 people, Pukaha, National Wildlife Centre

10th birthday 10-trip, $110, Hot Yoga Wellington

GIFT GUIDE

Finest handmade olive oil based soap using the best natural ingredients.

These clever little zip bags are pretty & reflective. Handcrafted in Wellington.

Freedom Farms smoked pork chorizo makes for happy summer eating!

Hat box of soap, $16.50, Bud Florists

Zero-waste zip bag, $55, Lumen Clothing

Smoked pork chorizo, $6.99, Freedom Farms

Team these cotton cuties with sandals or trainers for a look that says 'kapow'!

Wine and dine your loved ones at Wellington's newest dining experience - EAT.

Kussie Kiwi is ready for the holidays! Suitable for kids and kidults.

Hansel From Basel socks, $20, Mooma

EAT restaurant gift card , $100

Kiwi cushion, $44, Made. It

Hare’s Run, Wairarapa crafted Pinot Noir your Christmas wine. Available Centre City Wines & Spirits.

Treat someone at Mr Go’s! Modern Asian sharing plates, gua bao and bar.

The Moomin world comes to life with this delightful book for crafters of any age.

Mr Go’s, $50 Voucher

The Moomin Craft Book, $58, Ekor Bookshop & Cafe

Pinot Noir, $33.99, Hare’s Run

CULTURE

A FORGOT TEN ART ‘The Māori art of net-making is dying out,’ says Wellington jewellery artist/weaver Matthew McIntyre-Wilson. So he taught himself net-making by reading Peter Buck’s book The Maori Craft of Netting with its descriptions and drawings, and viewed archival film footage showing net-making. See his large fishing net made of harakeke (flax) at Dowse show Solo from 10 November, alongside new work by five other local artists; it’s called Solo because there’s no single theme. McIntyre-Wilson also weaves kete (baskets) and kakahu (cloaks) and has an interest in and knowledge of Māori art.

OPERA FOR ALL

TAKING UP THE MANTEL

THE PERFECT HOST

Wellington’s Eternity Opera aims to bring opera to everyone – from first-timers to aficionados – by making it as accessible as possible. ‘It’s about storytelling as much as singing – and we sing in English,’ says co-founder Alex Galvin (pictured), who directed Eternity’s well-received first productions Don Giovanni and The Marriage of Figaro. Now Alex directs Madam Butterfly (16–24 November, Hannah Playhouse) about a 1950s Japanese bride. Local soprano Hannah Catrin Jones plays Butterfly, and overseasbased singers are flying back especially.

The stage adaptations of Hilary Mantel’s novels Wolf Hall and Bring Up The Bodies have their NZ premiere this month as Stagecraft Theatre turns 60, and Wellington Repertory turns 90. The local amateur-theatre companies have teamed up for the first time to perform the plays, which alternate nightly 3–24 November (Gryphon Theatre). Anthony Hogan, director of Bring Up The Bodies, says it’s a massive undertaking to recreate the Tudor Court and other elements, like lighting, to suit both productions.

Could there be any better host than The Empire for the third Cinema Italiano Festival (1–14 November)? Not only was Island Bay once dubbed Wellington’s ‘Little Italy’ but Empire owner Pat Vinaccia has Italian heritage. The festival’s theme this year is amore. Ten films include awardwinning (fictional) feature Indivisibili, about the complicated bond between conjoined 18-year-old twins who contemplate separation.

L I VI NG RO O M

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CULTURE

YAY F O R C L AY Poet and ceramic artist Sam Duckor-Jones is the guest artist and selector for this year’s Ceramicus exhibition. The Wellington Potters’ Association’s annual showcase, which turns 60 this year, is a chance to see new pottery works by ceramicists hailing from Wellington, Kapiti and the Wairarapa. A range of awards will be announced on opening night, including the Premier Acquisition Award from Wellington Museum, where the winning piece becomes part of the permanent collection at Wellington Museum. Splash the national exhibition of Watercolour New Zealand, will also be on show. Ceramicus, Academy Galleries, Queen Wharf, from 16 November

MIX IT UP

GO OD FRIDAY

TIME FLIES

Three Wellington recording-studio engineers – Lee Prebble, Benny Tones and James Goldsmith – discuss their favourite mixes (as in combining multiple sound sources into one track) at Wellington Museum event After Hours: Sounds and Gifted (22 November). Local collective GOOMGROK, Rhombus Sound System, and audio-visual artist Jamoody perform live. Hi-fi speakers made by Wellington’s Tub’s Audio create different acoustics in four rooms.

Feilding couple Karla and Reihana Haronga – both high-school teachers – set and staged their play Friday’s Flock at the real-life Saleyards Café, next door to a stock sale-yard in Feilding. The duo’s theatre company Te Pūanga Whakaari performed Friday’s Flock there for three seasons, and also around the Manawatu. After a popular season at Wellington’s Kia Mau Festival, Friday’s Flock returns to the capital (8–17 November, Circa). They hope to take it to rural towns whose stories often don’t get told.

Garry Trinder says his 20 years as New Zealand School of Dance director have flown by. Another 20 years to go? ‘No! I’ll have titanium hips and knees by then. But I’m not retiring anytime soon. The best part is seeing students succeed. Graduates text, email, send photos of themselves performing.’ Honouring his milestone, the NZSD’s annual Graduation Season presents six works that alternate nightly, with three classical and three contemporary dances each evening (21 November to 1 December, Te Whaea).

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CULTURE

Final salute

Irish invasion

By Sarah Lang

At 9am on 12 November 1918, signal guns fired in Wellington announced that the Armistice of 11 November 1918 had effectively ended the long, agonising war. Locals abandoned their desks and homes for the official announcement at Parliament, followed by town-hall celebrations. Although Anzac Day overshadows Armistice Day in New Zealand, various events this month celebrate its centenary. On 11 November, a national ceremony will be held at Pukeahu National War Memorial Park (10.45am), and there’s a 100-gun salute on the waterfront shortly before 11am. At 7.30pm, the New Zealand Defence Force and its band will hold a Sunset Ceremony at Pukeahu and conduct the final daily Last Post Ceremony. Meanwhile, the Turnbull Gallery exhibition Goodbye To All That: Armistice 1918 – about Armistice and its aftermath, curated by eight classmates from Victoria University’s Master of Museum and Heritage Practice, runs until 1 December. ‘Curators aren’t always old!’ student Ashley Tvrdeic says. ‘We worked our butts off. Our crowning glory is film footage showing an Armistice celebration in Dunedin.’ The National Library will host an Armistice talk by three historians (9 November) and screen WWI film Frantz (29 November). In your small change expect 50c coins depicting Armistice scenes, while NZ Post releases collectable Armistice coins and stamps.

Mayor Justin Lester says he’ll ‘take a step into the unknown’ by taking part in a Gaelic Football match (also starring ex-All White Ben Sigmund), part of the inaugural New Zealand Irish Festival (15–18 November). ‘Gaelic Football is a cross between rugby, soccer and basketball,’ says Gerry Paul (pictured), the man behind the festival. The upbeat guitarist/songwriter – who founded Kapiti music festival Coastella and is CubaDupa’s music programmer – was six when his family moved to New Zealand from Ireland. He based himself in Ireland again from the age of 18 to 31 while his band Grada toured the world. Last year the long-time member of the Hutt Valley Irish Society directed the music for official events during the Irish President’s visit – and decided to stage an Irish festival like the ones he’d noticed in other countries. More than 600,000 New Zealanders claim Irish ancestry, but this three-city festival is for everyone. Wellington’s 20 events include gigs by Irish and Kiwi musicians, stand-up comedy, Irish films, Irish dancing (of course) – even a ‘Ginger Gathering’ for redheads organised by Ashley MacKenzie-White from the New Zealand incarnation of the Rose of Tralee competition (effectively, Miss Irish NZ). Coincidentally, the All Blacks play Ireland in Dublin the same weekend.

MUSIC

Hoea tō wa ka W R I TT E N BY M E LO DY T H O M A S P H OTO G R A P H Y BY A N N A B R I G G S

In a peaceful cul de sac in Newtown, a stone’s throw from the town belt, sits a nondescript brick house that would attract little interest from passers by, except when music occasionally drifts out through the open windows: a scatter of drums, a glittering harp, voices that glide and soar. This is the home of musician Mara TK, his whānau, and his new record label – Meetinghouse Records. Its aim is supporting and releasing indigenous music that, while recognising the past, fixes its vision squarely on the future.

hen he recites his pepeha, Mara TK (Kai Tahu) names Aoraki as his maunga and Waitaki his awa. But like many Māori, Mara has come to lay his head far from the places of his tūpuna: in the countless cities he's travelled to with his band Electric Wire Hustle (EWH), and the others where he lived before settling in Newtown in 2008. While Meetinghouse Records is only a few months old, this brick house has been something of a wharenui for years. The lounge is big enough for visiting kids to play happily with his two girls, while friends and whānau sip coffee in the sunny kitchen with Mara and his partner Jessie. The room that has recently become label HQ has already seen countless musicians come and go – people like Louis Baker, Troy Kingi, Mark Vanilau, Teeks, Warren Maxwell, Estere and Riki Gooch. And while it now boasts a donated piano and some extra gear, it’s been

used to record EWH albums for years. But now that it has an official name, the goings on within these walls are organised around a greater purpose − firstly, facilitating connections between Māori and other indigenous artists. ‘The meetinghouse is a clear symbol − it only exists for the purpose of connecting people,’ says Mara. And of course making and releasing music, or as Mara puts it: ‘f*cking killer records that have spiritual and cultural heft.’ ‘My main ambition is for myself and my contemporaries to make amazing records that future generations will listen to, be inspired by and even give them a sense of direction. This is exactly what the late great Hirini Melbourne's music has done for me, and Patea Māori club, Dalvanius Prime, Ruia and Ranea Aperahama − I can't start to express how important their music is to us on so many levels,’ he says.

BESE T COTFI OWNI N HNE EA RDSE R

MUSIC

In terms of genre, Meetinghouse will deal in soul and offshoot genres like psychedelic soul, funk and jazz, while exploring themes of indigenous experience in Aotearoa and the wider Pacific. ‘One of the prevailing themes in Sun Ra's Afro-futurist music was that he was an alien because of the fact that American society didn't treat him like a human being... Now if Samoans are alienated by raiding their homes, detaining and deporting them, then what kind of narratives does that form in the minds of those alienated? And in the minds of the society that condoned those deportations?’ says Mara. The first slated releases from the new label are a solo full-length from his group Love and Hope with Mark Vanilau and Troy Kingi (search out the song Aku Moutere, you won’t regret it) and the fourth record from EWH. There’s also a very special bilingual album he recorded with a group of kids in the wharenui at Otākou Marae on the Otago peninsula, and his own solo debut −

for which Mara has found himself writing more in Te Reo Māori than ever before. ‘It’s such a poetic language. You’d struggle to find another culture that uses more proverbs, tribal sayings, affirmations and turns of phrase as Māori do… so exciting to use − mostly because of the window they give into what Aotearoa and our society was like in earlier times,’ he says. As an example, Mara shares a proverb: ‘Kotahi aho kia rewa, kotahi aho kia poupou’. This whakataukī reminds the fisherman to keep one line in shallow water whilst another is in the deep. ‘It’s a very coastie way of saying "Don't put all your eggs in one basket",’ he explains. Isn’t making a record label based in his family home something like putting all his eggs in one basket? Mara laughs: ‘This is why the proverb exists, yes I probably have! I’m gonna rely on another proverb now which is “Hoea tō waka...Row your own canoe.” Follow your vision.’

Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. 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Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television a colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to reaine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2] Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television a colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea Fine print, small print, or “mouseprint” is less noticeable print smaller than the more obvious larger print it accompanies that advertises or otherwise describes or partially describes a commercial product or service.[1] The larger print that is used in conjunction with fine print by the merchant often has the effect of deceiving the consumer into believing the offer is more advantageous than it really is, via a legal technicality which requires full disclosure of all (even unfavorable) terms or conditions, but does not specify the manner (size, typeface, coloring, etc.) of disclosure. There is strong evidence that suggests the fine print is not read by the majority of consumers.[2]Fine print may say the opposite of what the larger print says. For example, if the larger print says “pre-approved” the fine print might say “subject to approval.” [3] Especially in pharmaceutical advertisements, fine print may accompany a warning message, but this message is often neutralized by the more eye-catching positive images and pleasant background music (eye candy). Sometimes television advertisements flash text fine print in camouflagic colors, and for notoriously brief periods of time, making it difficult or impossible for the viewer to rea

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CULTURE DIRECTORY

ORCHESTRAL CLASSICS BY WELLSO

CELEBRATING 20 YEARS OF KRAFT

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Rata Studios School of Music presents Wellington Late Starters’ Orchestra evening of instrumental classics. Music from Bach, Mozart, Tchaikovsky, Sibelius, Stravinsky and more. Celebrate a year of music with WELLSO at this relaxed evening concert. Entry by koha.

2018 marks the 20th anniversary of Steph Lusted Jewellery. ‘KRAFT’ is an exhibition showcasing some of her latest pieces alongside a retrospective of Steph’s unique work over the past two decades. Weaving together classical jewellery with sculptural elements Steph’s work often blurs the expected boundaries between jewellery, art and curios.

Leap into a virtual reality with Wellington based visual artist Belinda Griffiths, whose practice infuses traditional themes through modern day technologies. This collection of new paintings and resin sculptures have a love for water, clouds and natural phenomena. Going Solo NZAFA.

7.30pm Friday 16 November St Andrew’s on the Terrace 30 The Terrace, Wellington. ratastudios.co.nz

LEONARD’S FIFTIES 50 ARTWORKS FROM MID-CENTURY NEW ZEALAND. Mitchell Studios is proud to present a new exhibition showcasing the work of New Zealand artist Leonard Victor Mitchell, including his original designs for the Lower Hutt War Memorial Library murals, on display for the first time since the 1950s.

2 November – 22 December 17 Ganges Road, Khandallah. mitchellstudios.co.nz

30th October – 24th November Steph Lusted Jewellery, 17 Whitmore Street, Wellington. stephlustedjewellery.com

GRADUATION SEASON 2018 Ballet. Contemporary dance. Two dance programmes, alternating throughout the season. Experience remarkable choreography to mark the 20th anniversary of the School’s Director, Garry Trinder. Watch exhilarating performances as the curtain rises on the next generation of dance talent.

December 7 – January 13 1 Queens Wharf, Wellington. belinda-griffiths.com

SPLASH + CERAMICUS Wellington Potters’ Association is delighted to present its 60th Ceramicus exhibition together with Splash, the national exhibition by Watercolour New Zealand. The exhibition features new work from members of both groups alongside artworks by painter Alfred Memelink and ceramicist Sam Duckor-Jones.

A must see on Wellington’s vibrant arts calendar.

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21 Nov – 1 Dec Te Whaea: National Dance & Drama Centre. nzschoolofdance.ac.nz

16 November – 1 December Open daily 10am – 5pm, Academy Galleries, 1 Queens Wharf, Wellington.

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CULTURE DIRECTORY

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Mahara Gallery celebrates Women’s Suffrage 125 by featuring artwork by Taryn Beri, Vanessa Crowe, Robyn Kahukiwa, Anna-Marie O’Brien, Ramila Parbhu, Awa Puna, Diane Prince & Hariata Ropata Tangahoe. Also showing Witness, Sophie Saunders; Three Works, three Decades, Frances Hodgkins. Supported by the Field Collection Trust and Avenal McKinnon.

Flashbacks with Geoff Murphy: a retrospective trip celebrates one of NZ’s great maverick filmmakers. Included in the nine-film season are iconic breakthrough hit Goodbye Pork Pie, sci-fi classic The Quiet Earth, Utu Redux, Hollywood highlight Young Guns II, and early, irreverent and never-broadcast children’s series Percy The Policeman.

Art Zone is a quality publication that stimulates the imagination and invigorates the creative. Offering a comprehensive coverage of New Zealand’s art world – it’s an ongoing exhibition in every issue. For artists, collectors, enthusiasts and gallery frequenters Art Zone is the perfect choice.

Oct 27 to Dec 9, 2018 20 Mahara Place, Waikanae. maharagallery.org.nz

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F E AT U R E

Covet When did it become ok to covet? Michael McDonald looks into sinful desire.

ell, here we are on the threshold of another Christmas. What used to be a gentle season of giving and receiving, feasting with family and friends, and perhaps contemplating the birth of the saviour of the world, has become – just like everything else, it seems – an orgy of shopping. How is it that commerce manages to cast its deadly pall over every human activity? Nothing is spared. Not hospitals. Not schools. Not our national game, nor our statutory holidays. All must make obeisance to this most godless of gods. Commerce long ago moved beyond the simple exchange of useful goods to grace useful lives. It is, now, in and of itself, insatiable, omnivorous, and unstoppable in its pursuit of endless growth and limitless profit. It’s absurd, of course. The world can’t stand much more. That’s clear. But what drives it? What causes someone to want to be a billionaire? Why does anyone need nineteen tee shirts or twentyeight pairs of shoes? Who really requires not one but two 78-million-dollar yachts? Or a driveway full of cars? Or a kitchen groaning with gadgetry? The answer of course is Desire. Greed. Lust. Envy. Chamad, in Hebrew. Coveityse, in Chaucer’s medieval English, Covetousness. It’s not a word we hear very often. Perhaps because it belongs to the philosophical and spiritual realms, when we are now so determinedly secular and materially driven. We don’t hear

about it much because greed and lust and getting what you want are all now commonplace, unquestioned, and endemic – and probably taught in the curriculum – whereas the notion of ‘coveting’ implicitly challenges this mindset. Coveting is about value, but not commercial value. It is about the battle for the soul, not for the discretionary dollar. The word had an unexpected outing recently. The exotically named Omarosa Manigault Newman, in her book about the Trump White House, Unhinged, said of Trump: ‘I believe he covets his daughter. It’s uncomfortable to watch them.’ Blimey. Uncomfortable indeed. Covet, in the sense Manigault Newman uses it, means sexual desire. This, though, is not the way some commentators on her work understood it. Many of them thought coveting meant ‘caring for’ or ‘being affectionate to’. Wrong. It shows how much we have lost in a short time when many grown-ups simply don’t know what this word means anymore. M. Newman knew exactly what she meant and it’s purely biblical. When Exodus 20:17 says, ‘Thou shalt not covet thy neighour’s wife’, it’s not saying ‘thou shalt not pat thy neighbour’s wife on the head in a caring way’. It’s pretty clear. When I first became aware of this proscription about neighbours’ wives, it was known round our way as the Tenth Commandment. I didn’t really know at the age of seven what ‘covet’ meant exactly. I was pretty damn sure all the same that I

F E AT U R E

didn’t covet Mrs Dix. Our neighbour’s wife was, in my father’s memorable summary, ‘a woman of repellant aspect.’ As far as the rest of the Commandment was concerned, while Mr Dix had neither a manservant, maidservant, ox nor ass to covet, he did have a powder blue Morrie Thou’, which I coveted enormously. Mea culpa Mr Dix. The last two Commandments – the ninth and tenth – which deal with coveting of all manner of sinful loveliness, are different from the other eight. They are all about actions – murder, blaspheming, adultery, stealing – all that lurid stuff. But the coveting ones are about the heart’s desires. When then USA President, Jimmy Carter told Playboy in 1976 that he had ‘looked on a lot of women with lust’, he was quite right – in a scriptural sense – when he said that by this very act of coveting he had, in fact, ‘committed adultery in my heart.’ In saying so, he was reflecting Matthew 5:28: ‘...whosoever looketh on a woman to lust after her hath committed adultery with her already in his heart.’ Jimmy Carter’s becoming and self-deprecating shame seems quaint now in an age when the President of the United States appears happy to grab any passing bit of ass without so much as turning a yellow hair of his pompadoured head.

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Across all religions and most philosophies, coveting always led to trouble. Greed, avarice, the desire to amass wealth without limit, and the passion for power were all the same to the church and it was seen as the deadliest of sins – well, for others at least, if not for the church itself. Philosophers typically felt the same. ‘Covetous desire’ said Philo of Alexandria, ‘is the worst kind of passion. Left unchecked it is the cause of personal, interpersonal, and international strife.’ Well, he’s not wrong there. What is China grabbing rocks in the South China Sea but covetousness writ large and dangerous. What is Bashar al Assad’s slaughter of half his people but the expression of lust for personal power at any expense. The annals of human depredation are long and depressing, and behind all of it is people’s desire for what they don’t have and others do. The simplest and best antonym for covet is ‘not want’. Well, I suppose it’s easy for me to say. I’ve reached an age where I don’t have much and I don’t want much. My covetousness seems extremely low, if not in complete abeyance. It’s strangely restful. I recommend it. On the other hand – if anyone out there has a spare Cartier tank watch or an Aston Martin Superleggera they don’t want, I’d be very happy to relieve them of the burden. Just a thought.

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Play it forward By Leilani Baker Let them play! That’s the idea behind Porirua Project, the first free multi-disciplinary sport and music programme in New Zealand. With half a million dollars in support from Porirua City Council, Olè Football Academy is teaming up with Virtuoso Strings Charitable Trust to deliver the programme over three years. It will offer 50 children aged 6–10 each year the opportunity to try playing football and classical instruments free of charge. Olè Football has 250 footballers regularly involved. Virtuoso Strings has well over 200 students from the Porirua region, many of them making up the Virtuoso community orchestra. Ben Sippola, CEO of Olè Football Academy and a former professional player, is worried that kids in Porirua don’t have access to exploratory learning. He says, ‘Porirua is a difficult place to grow up due to the socioeconomics of the community, so kids miss out on these opportunities to play, whether it’s sport or music.’ These local organizations share the goal of removing these barriers for children in the Porirua community. The Porirua Project’s aim is E+O=P. That means investing in Environments plus providing Opportunities equals fulfilling Potential. Those interested in participating can apply through Porirua Primary Schools now. The first intake begins in January 2019.

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Massey University Graduate Exhibition 03–17.11.18 Design, Fine Arts, Commercial Music and Creative Media Production Exposure Exhibition He Kanohi Kitea Open daily 10am– 4 pm College of Creative Arts Wallace Street, Wellington Exposure Fashion Show 09–10.11.18, 4 pm and 7.30 pm Purchase tickets at eventfinda.co.nz exposure2018.massey.ac.nz #exp18 @masseyexposure

OPINION

Bold move Isabella Cawthorn is passionate about our city’s transport. She says it time for Let’s Get Wellington Moving to move with the times.

ellington’s leaders have defined ‘modern transport systems’ as ‘private cars’, and over the past decade a startlingly tiny 10–15% of transport spending has gone to all the other ways to get around. Yes, you read that right. For all the media noise about cycling or buses, for decades, all kinds of public transport, plus walking, plus cycling, is only 10–15% of our total transport spend. It’s no surprise, then, that our kids have become less and less active over this time. It’s no surprise we adults are even worse, getting slowly fatter and sicker. It’s no surprise our carbon footprint has climbed steadily, in Wellington now about 40% is from transporting ourselves. City physics shows car-dominated towns suffer massive wastage: of people's productive time spent driving, and of public money building more road space to ‘ease congestion’ for a few years. Car-dominated town centres can’t move people properly. Clogged with cars, street space is inhospitable to walking and biking, public transport is hamstrung, and the streets are even frustrating to drive on (Exhibit A: Porirua city centre). Car-dominated town centres suppress liveability. Streets are noisier, more intimidating to cross, less pleasant to linger, browse and hang out in. And car-centric transport systems force us into unsustainable patterns of life that cost us dearly, and our children’s generation even more. NZTA, the Greater Wellington Regional Council and Wellington City Council are about to spend $4 billion of public money on transport in Wellington City. The Let’s Get Wellington

Moving programme will shape the city for 100 years. The initial scenarios for LGWM in late 2017 were pretty scary. You’d expect the ‘Do Most’ Scenario D, costed (then) at $2.3 billion, to be the real game-changer. But notwithstanding some nice-sounding walkability, bikeability and public realm stuff, Option D was completely wrong-headed in its big-ticket priorities. The immediate builds would include bigger roads, and ‘an extra Terrace Tunnel’. Inner city mass transit − the most efficient way to move people around the city − was on a vague ‘later’ timeline. Mass transit in Wellington would benefit in the next decade only from preliminary paperwork − a legal designation of a ‘potential future corridor’– and some ‘bus rapid transit’ as a sop in the meantime. Ideally, we could rely on LGWM to get it right, but information is scarce and the signs aren’t good. Since 2017 there’ve been some workshops, a research survey, the occasional comment about light rail from new ministers, but mostly radio-silence from LGWM while the release of the Recommended Package for Investment, or RPI, has been postponed. The sporadic leaks of information suggest that LGWM are still in denial of urban physics. While there’s bolder talk about light rail, expanding the Terrace Tunnel is still on the list. This is expensive, car-centric infrastructure with zero public transport value. And, to mitigate the impact of the extra cars (which will come, according to urban physics), LGWM will spend hugely on burying Vivian Street.

OPINION

Why is it so hard for NZTA, GWRC and WCC to just spend our money on building efficient ways to get around? Why is it so hard for them to acknowledge that people rather than cars should have the VIP passes to our streets? Our transport system should serve people’s needs first and foremost. That’s the basic humanist principle on which any self-respecting developed city is reshaping its streets via its transport spending. Is it crazy? Well, Transport for London is reorienting its 10.2 billion pounds’ annual transport spending so it prioritises people’s needs over cars’ needs, calling it Healthy Streets. If they can do it, we can too. In a time of #bustastrophe, ‘hubbing’ being a dirty word, and local transport leadership looking flakier than ever, it’s tempting to give up. But now is precisely the time to give our leadership a hearty push in the right direction, because they’re about to spend an awful lot of our (and other Kiwis’) money ‘sorting out’ transport in Wellington. LGWM has planned no more formal opportunities for us to have a say before the RPI is released. But the package must be approved by the central government. The ministers will need to be convinced that tax from all Kiwis will be spent wisely in Wellington. As a region, and as a city, we’re at a crossroads

(pun intended). We could let our leaders waste all that money in building what we (and they) know doesn’t serve cities well, while talking about ‘pragmatic compromises’ and trying to look a bit progressive. Or we could speak up. The LGWM leadership don’t want to ask us what we think any more, but if we give our local and national politicians a good shove we can make them set LGWM on the right course. There’s still a chance to make them spend our $4 billion wisely: building mass transit and a connecting bus network first, comprehensively, properly – so for the first time ordinary Wellington people from the suburbs can genuinely contemplate leaving the car at home. And there’s still time to persuade our leaders to spend our LGWM money unashamedly prioritising people movement over car movement on inner-city streets. Maybe you feel mostly unaffected. Or maybe you’re burned out from #bustastrophe. But it’s worth taking the time to tell our leaders what you think. This is a once-in-a-generation chance. When you’d rather be watching telly, why not write an email to members of the governance group. And conscript your friends over coffee. You could be giving us and our Wellington children a fighting chance of being healthier and more active and

SIMPLY STUNNING MEATS

reducing our carbon footprint. Instead of helping the world burn. You’d be doing good. Let’s have the difficult conversations about change, face together the roadworks and the parking changes, disruption and traffic delays, and feel the pain (because change to our habits always hurts). But we’ll then be confident that our expensive transport system is starting to wholly serve us, the people, and our children. So let’s get moving.

Isabella Cawthorn hails from Porirua. She drives, bikes, walks, takes buses and trains around the region to play and work as a freelance facilitator and consultant. She’s convenor of Talk Wellington, a notfor-profit online platform that’s fuelling good civic conversations shaping Wellington’s transport and its urban form. Kōrero shaping Wellington: talkwellington.org.nz or @talkwelly

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Metre by metre P H OTO G R A P H BY SA K U R A S H I BATA

What would you find if you excavated a 1m x 1m area around Wellington? That's exactly what we do in our series, Metre by metre. This month we explore the ground of the Botanic Garden. Thanks to the Wellington Botanical Society secretary, Lara Shepherd and Te Papa curator of botany, Leon Perrie for their help.

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FASH ION

Seventeen degrees The average November temperature in Wellington is 17oC. Friends Jack, Jerome, Finley & Tom (who met at St Pat's Silverstream eight years ago) spend a 17oC day cruising around Lower Hutt.

Location : Epuni, Lower Hutt Models : Jack McGoldrick, Jerome Mason, Finley Byron & Tom Jones Photography : Bex McGill & Bella Griffiths Art Direction : Shalee Fitzsimmons & Mudiwa Nyahwa Stylist : Mudiwa Nyahwa

Jerome wears: Tony Blazer navy green check, $499, WORLD Trilby in navy, $150, Mandatory Levi's 551 jeans in blue, $220, Barkers

Jack wears: Surely not doughnuts shirt, $289, WORLD Trade overalls in black, $160, Amazon Surf, Skate and Denim Sinclair Perino beanie in black, $60, Barkers

Fin wears: Archer Oxford shirt, $80, Barkers Sugar pie guy vest stripe, $199, WORLD Levi's Poggy McQueen pants, $240, Barkers

Jack wears: Honda shirt in leaf, $290, Mandatory

Tom wears: Albacore gun watch in black, $219, Mandatory

Tom wears: Levi's Poggy sack coat, $415, Barkers

FASH ION

The declutter flutters BY M EGA N B L E N K A R N E

e live in a time of the Marie ‘life-changing magic of tidying up’ Kondo movement, where we are encouraged to ask ourselves if our possessions ‘spark joy’. Judging by YouTube, the declutter game is an intense purge, where you take everything you haven’t worn for an arbitrary period of time, and get rid of it. If it doesn’t fill you with joy – joy! – then you get rid of it. If it’s not your style, or it’s worn out, or it still has the tags on it, you get rid of it. The result is literally hundreds of thousands of videos of young women filling up bags with clothes they’ve suddenly decided they don’t want or need. The concept of clothes sparking joy is, frankly, nonsense. I love clothes and fashion more than the average woman, yet it would be rare for me to say my clothes spark joy. When my godson learned my name and called to me in the playground for the first time, then I felt joy. When I learned my brother was moving home from overseas – yup, felt real joy. Even my favourite clothes get nowhere near. Let’s replace that ridiculous standard with a much more reasonable one: do you feel good when you wear it? Moving on to the idea that you might get rid of something you haven’t worn in a year. That is too simplistic a test – your life is complex and changing! Confession: in my younger days I once ‘decluttered’ a pair of red, widelegged trousers because they were a bit tight. I was also nearly 10 kilos over my healthy weight for reasons that were

obvious (I ate a chocolate muffin for breakfast every day for two years). Clearly, I should have got rid of the muffins, not those fabulous pants. Similarly, if you haven’t worn your fancy shoes, you are just overdue a fancy day. Scheduling a night out seems like a much happier result than throwing away a thing you genuinely like. Instead of decluttering, find a way to wear things again (the great news is that this will not always require you to eschew chocolate muffins). Sometimes the best thing you can do is temporarily remove your favourites from your wardrobe, so you can think about what’s left in new ways. Take for instance the linen dungarees I’m wearing in this photo. I realised that a 35-year-old career woman has disappointingly few opportunities to wear dungarees, but has many opportunities to wear linen trousers. One quick layering experiment later, and I was the proud owner of a ‘new’ pair of pants (and one less item went into the black hole of a clothing bin). Finally, yes, we’ve all bought the insane thing online that was a mistake, or worn a pair of pants until they were falling apart and fit only for rags. Those definitely don’t deserve a place in your precious wardrobe space but – and here’s an innovative thought – just don’t put them back in there in the first place. Hey presto! Your decluttering days are over. My top is from Thing Thing, Wanda Harland.

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LIFESTYLE

BIKE FOR A BUCK Onzo bikes have finally made it to the capital. Last month 200 black and yellow (how appropriate) bikes arrived in Wellington for a sixmonth trial of the Onzo bike sharing system. These ‘dockless’ bikes don’t have special parking stations; instead, riders use an app to find the nearest bike then scan to unlock it. With only one speed they’re not the easiest wheels to get up a hill, but at only $1 an hour they’re a cheap way to cruise around the city.

SHARE AND SHARE ALIKE Porirua has a new co-working space. The Settlement, which has been running in Petone for more than a year now, opened a new location on Walton Leigh Ave last month. The brand new fit-out in the old Housing Corp building boasts two meeting rooms and enough desks for 100 people. Porirua City’s Manager City Growth and Strategic Property, Darryn Grant, says feedback from the community has highlighted a demand for co-working spaces in the city. He said it is great to see facilities like these becoming available in the city centre.

ALL LIT UP

ON THE MOVE

Wellingtonian Fiona Pohlen has created Lumen Clothing, a reflective-wear brand designed to keep people safe on the streets of the capital. Pohlen was inspired by her previous work as a police officer and uses 3M Scotchlite© highlights on her garments, the same product used on high-visibility safety workwear. ‘My aim is to create a city where pedestrians are all visible in lowlight conditions, and still look fabulous, wearing sophisticated, locally made clothing,’ she says.

Wellington institution The Cotton Store is on the move. Previously situated on Walter Street, the store is moving a couple of blocks to 28 Jessie Street, to an emerging textiles, food and clothing precinct in the heart of Te Aro, says John Toogood, a co-owner of the business. The store offers stylish cotton furnishings and fabrics to spruce up your home. ‘We’ll be downsizing but being closer to the city hub we’ll see more foot traffic,’ said John.

129 Willis Street BurgerLiquor.co.nz 11:30 - Late Everyday

Keeping time By Sam Hollis A great watch tells more than the time, it tells a story. That’s the belief of Ryan McKenzie, a watch enthusiast bringing iconic wristwear for sale to the capital. Ryan worked for Air New Zealand after high school and says he was often distracted by the watches strapped to the wrists of pilots. An interest became an obsession after he came across a 1969 Seiko Chronograph while rummaging through a pawn shop in Christchurch. A novice then, he had no idea he’d picked up one of the first automatic chronograph wristwatches ever made. He moved to Wellington to sell watches at Partridge Jewellers. Ryan says asking about someone’s watch often leads to a life story. Sometimes it was a gift for a fiftieth birthday, or a present upon the birth of a first child. ‘That's the compelling thing about a watch and that's why some people say they'll never sell them. It’s too important.’ Ryan and business partner Malcolm Brow have established FiveFortyFive, a vintage watch store on Cuba Street. Watches available include among others Omega Speedmasters designed for the astronauts on the Apollo space missions, and the Rolex Submariner on Sean Connery’s wrist as he wooed Pussy Galore in Goldfinger. Ryan says he wants equally to please those after the $250 Seiko Quartz Diver and those after the $36,000 IWC Big Pilot.

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9. P H OTO G R A P H BY A N N A B R I G GS

ST Y L E D BY S H A L E E F I T Z S I M M O N S

Photography by Anna Briggs Styling by Lauren Andersen & Shalee Fitzsimmons

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FISHY BUSINESS

Orca Name: Orca or killer whale Māori name: Maki, kera wēra (assumed to be a translation from the English name). Scientific name: Orcinus orca Looks like: If you don’t know what an orca looks like we suggest you sit down with the family-friendly film masterpiece Free Willy (featuring an orca named Keiko who, in real life as in the movie, was eventually returned to the wild, though in real life he died soon after). Despite being referred to as ‘killer whales’, orca are actually the largest member of the dolphin family, with individuals growing up to 9m in length. They are easily identified by their distinctive black and white markings and tall dorsal fin. Habitat: Besides humans, orca are the most widely distributed mammal on earth. In New Zealand there are estimated to be only about 150–200 individuals, which is surprising given how often they are sighted in Wellington. If you do see orca it’s important to remember to keep your distance − according to the Marine Mammals Protection Regulations 1992 it’s an offence to swim within 100m of them, and a boat should never be closer than 50m. Feeds on: Orcas are apex predators that behave differently (socially as well as in terms of their diet) depending where in the world they live.

Here in New Zealand sharks and rays appear to be important food sources, including eagle rays, long-tail and short-tail stingrays, common threshers, smooth hammerheads, blue sharks, basking sharks and shortfin mako sharks. In Wellington pods of orca often venture into the harbour during spring and summer, working together to herd and capture tasty stingrays. Catch: Even if you have the means, we recommend not catching or harming orca (unless you want to face jail time and a hefty fine). Cook: Do not cook the orca. Instead, how about an orca-themed birthday party? A quick google brings up a bunch of delightful, monochromatic recipes including orca cakes, cupcakes, sugar cookies and even a cucumber sculpture. Did you know? Despite the ‘killer’ stereotype and a handful of attacks on humans while in captivity, there has only ever been one confirmed orca attack on a human in the wild − when in 1972, a surfer named Hans Kretschmer was bitten and required 100 stitches (though he did live to tell the tale). If it were human it would be: Orca live in incredibly complex social structures, so it’s not hard to imagine them as human. A North Pacific orca living with their mother their entire lives might be justly compared to a young person today, unable to afford a place of their own.

Whitebait

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EDIBLES

NEW BREW Dragons was voted the best Yum Cha in the city in our Best Of Awards. So we’re pretty excited that the team behind that Tory St gem have just opened another family business on Taranaki St. Goldie Milk Bar & Eatery is dedicated to desserts, drinks and dogs (of the hot variety). Their bubble tea is six dollars, but we hear the creamy foam topping (just add a dollar) is worth splurging on.

FIELD TO FORK

YOU TAKE THE CAKE

LIVIN’ IN LEVIN

Paddock to plate has become a cliche but the concept still has relevance. Miramar smallgoods producer Harrington’s have recognised this with their new range, which clearly communicates its New Zealand origins. This is a result of the Consumers Right to Know (Country of Origin Food) Bill which currently allows pork grown overseas to be shipped to New Zealand and processed here and the resultant product to be called ‘New Zealand Made.’

The Northland Cake Competition has been running for about seven years, according to organiser and Northland local, Anna Stichbury. It is a community event only open to school-aged children and it is very hotly contested. Local judges will score each cake and afterwards the goal is to eat as much cake as possible. Ms Stichbury says the popularity of cooking TV programs has helped the competition to gain momentum.

Now in its third year, the Horowhenua taste trail will take place on Saturday November 24. It is an exhibition of ‘paddock to plate’ food and will showcase 10 of Horowhenua’s specialist producers. Included in the 10 producers is Geneose Pesto, of Levin, which was first established in 1993. Executive director Catherine Lewis says ‘Each event gives participants a closer look at where their food comes from.’ Other producers involved include Woodhaven Gardens (asparagus) and Levin Eel Trading.

EDIBLES

ECO WA R R I O R S Try walking a block in central Wellington without seeing a plastic lidded takeaway coffee cup; even people with reusable cups use them only 60% of the time. Eco-warriors Melissa Firth and Nada Piatek are piloting an initiative in Wellington this month. 14 cafés – Fidels, Maranui, Havana Bakehouse, Milk Crate, Queen Sally’s Deli, Bicycle Junction (and various Peoples, Superfino and Franks establishments) – will lend you an ‘Again Again’ reusable cup that you return to any participating cafe (and get back the $3 bond). ‘We’ve been blown away by the enthusiasm of cafes,’ Nada says.

RISE AND SHINE L’affare is looking out for us by making ‘the most important meal of the day’ a little easier. Their new breakfast club offers a sweet eggs bene deal Monday through Friday, and a special ‘Avo Club’ dish on Thursdays. Apparently we should all be aiming to consume around 15–25% of our daily energy intake at breakfast, so dig in. But if you're not a morning person, their Sunday Sessions in the afternoon might be more to your taste.

BRUNCH | LUNCH | DINNER capitolrestaurant.co.nz

EGMONT, NATURALLY Egmont St Eatery will be catering at the Budburst 2018 event on 11 November. Budburst is a celebration of naturally produced wines, which means that all wines there are ‘vegan’. Egmont will be serving delicioussounding pork and paua pies among other favourites from their popular menu. The event is at the Boatshed and Rowing Club on the waterfront.

NO USE FOR SINGLE USE Last month Countdown began packing all its online orders into paper bags. By the end of 2018 single-use plastic bags will no longer be available at any of their stores either. Countdown’s contribution alone will mean 350 million fewer plastic bags in circulation every year. At checkouts they will make a number of options available.

S H E A R E R S ' TA B L E

Whiteba it sa lad with coconut and papaya BY N I K K I & J O R DA N S H E A R E R

hitebait is an iconic and treasured delicacy in New Zealand, coveted by many. This tiny little fish can be sourced by anyone, of any age, with a net in New Zealand from mid-August until end of February. There are fishing regulations for whitebait so make sure you check out the Department of Conservation's website before you go out seeking these morsels. We have been lucky enough to grow up enjoying an abundance of whitebait fritters on the BBQ, or nestled on a piece of soft white bread thickly spread with butter.

Keep in mind that there are many species of whitebait that are threatened, and catching and eating whitebait can be a controversial topic of conversation nowadays. So, check out Manāki (from the Māori word meaning to care or look after), the first company producing a 100% sustainable harvest of whitebait in New Zealand. Spice up your whitebait with an Asianinspired salad. This dish can be easily served as a shared platter for everyone to dig in with a fork, individually portioned for an entree, or served in a newspaper cone for good ol’ kiwi kai – fusion style.

METHOD

INGREDIENTS

Serves 4 1 Tbsp fish sauce 2 tsp coconut sugar 2 Tbsp light soy sauce juice of one lime 1 kaffir lime leaf, finely diced 1 red chilli, finely diced ½ cucumber, julienned ¼ papaya, peeled, seeded and sliced ½ cup mung beans 1 cup baby lettuce leaves of your choice handful of coriander leaves, roughly chopped 1 red chilli, de-seeded and finely sliced 400g fresh whitebait (100g per person) 2 Tbsp coconut flour salt and pepper rice bran oil 4 lime wedges – to serve

2. 3. 4. 5. 6. 7.

8. 9.

Our favourite trick for making dressing is to use a jar. So to a clean jar, with a lid, add fish sauce, coconut sugar, soy sauce, lime juice, kaffir lime and chilli. Shake ‘what ya mumma gave ya’ until well mixed. Set aside. Prepare salad by tossing together cucumber, papaya, mung beans, lettuce, coriander and chilli. Drain whitebait. Season coconut flour with salt and pepper. Dust whitebait in the flour mix. Heat a large pan with about 2 Tbsp rice bran oil. Quickly fry whitebait in a couple of batches until just cooked. It will seriously not take long, approximately a minute, tossing around. To serve, drizzle salad with dressing and top with hot whitebait. Serve with wedges of lime.

LIQUID NEWS

Grape minds Let’s hear it for an unsung white wine hero – it may be rare as hen’s teeth, but the quality has never been better, suggests Joelle Thomson.

t’s revered as delicious, renowned as a keeper in a cellar and has a cult following. It’s also often declined or misunderstood, and is variable in style. It is Chenin Blanc. It’s one of New Zealand’s most underrated white wines in terms of quality, so why is it shrinking in production? If your response is ‘Oh, Chenin, it’s been a while’, join the crowd. Chenin is not exactly common on restaurant wine lists, and is tucked down the back of the bottle store if it’s there at all. The supermarket might stock the occasional $15 bottle, but it will be an oddity. Chenin is not on the wish list of many wine drinkers, even though many of them respond to it as they do to Riesling − as long as they don’t see the label, they love the taste. Astrolabe winemaker SimonWaghorn finds it strange that Chenin has largely been ignored at the expense of alternative grape varieties, such as Albarino, Gruner-Veltliner and Pinot Blanc. He sees Chenin as a far better grape than any of these experimental varieties. ‘Chenin and Riesling are two varieties that can, if well made and put in the bottle correctly, improve over time, so that’s why I’m pursuing it in Marlborough,’ says Waghorn, who makes small quantities of Chenin Blanc from the hillside Wrekin Vineyard. He is among the few devotees of Chenin in New Zealand today but, like the winemakers at Millton Vineyards, Mount Edward, Amisfield, Esk Valley and Forrest Estate, Waghorn is not only committed to continuing with Chenin Blanc, he is passionate about its potential in New Zealand. Despite the fact that Chenin Blanc has declined by over 50 per cent in the past 10 years to a minuscule 22 hectares nationwide, Waghorn sees it as one of the great unsung white wines in this country. He is not alone. In its heyday in the 1980s, Chenin was one of the

most planted grapes in the country by volume. It was a workhorse grape, a key ingredient in bagin-box wine, which made up 70 per cent of New Zealand wine production in the early 1990s. All is not lost for Chenin Blanc. The irony of its scarcity is that the quality has never been better, nor has the diversity because today it is planted everywhere from Gisborne to Central Otago. While the grape’s flavours shine through, the style varies from crisp, light and off dry to full bodied, bone dry and zesty. Hawkes Bay grape grower Ian Quinn is trying to revive the flagging fortunes of Chenin Blanc too. He planted two new hectares of Chenin on his Two Terraces Vineyard in 2016 on a north-facing slope of the Ngaruroro River. The slight elevation of the vineyard provides a micro climate with warm days but significantly cooler nights. This preserves Chenin’s fresh quality and its high acidity, the key reason it can taste so succulent and age so long. Great Chenin Blancs are renowned for their ability to last and improve in the bottle for decades. Do you remember Collard’s Wines? Their $8 to $10 Summerfields Chenin Blanc may be long forgotten by most Kiwi wine drinkers, but last time I had one six years ago, a 1993 wine, it was excellent. Quinn says he chose to plant Chenin Blanc partly in response to a winemakers’ quirky wish and partly driven by his own love of Chenin. This all sounds promising for Chenin, which has had a depressing global decline since the late 1950s. In 2008 it represented less than 1.2% of France’s total vineyard area with 9,800 hectares. This is almost a 50% reduction since 1958 when there were 16,500 hectares of Chenin Blanc growing in France. But things are rosier in South Africa, where it remains numero uno – and is rising in quality as winemakers realise what a taste sensation it can be.

Try these… 2017 Black Estate Chenin Blanc $45 This small North Canterbury winery makes minuscule amounts of bone dry Chenin Blanc from one row of the grape planted on the 12-hectare vineyard in the Waipara Valley. The style depends on the year and the latest is a dry deliciously savoury, super refreshing crisp white with a medium body and long finish. 2018 Amisfield Chenin Blanc $25 Yes, Central Otago does have a string other than Pinot Noir to its bow, as this refreshingly dry Chenin Blanc shows. It’s new and small in quantity but already expressively tasty. 2017 Mt Edward Chenin Blanc $29 Winemakers Duncan Forsyth and Anna Riederer released their first Chenin Blanc from 2017, making it a little like Chardonnay, putting the wine through a secondary fermentation – malolactic fermentation. This winemaking technique was used to deacidify the wine and soften its zesty core while retaining its vibrant freshness. It’s dry and it comes from the Morrison Vineyard. A mere 170 cases were made.

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HOPS GROW LEGS Garage Project has partnered with Freestyle Farms, a top hops farm in Nelson, to create Hāpi Research Ltd. Hāpi with the Ministry of Primary Industries is creating a seven-year plan to accelerate the development of uniquely New Zealand hops, which will in turn facilitate the growth of uniquely Kiwi beers. Research on precision agriculture practices and processing methods will help to achieve this end. The ultimate goal is to elevate New Zealand’s craft beer industry to a level similar to that of its wine industry, with a premium marketable product, worldwide.

REPTILE REGROWTH

GOLD MINING

BUTTERY CHARDS

Tuatara Brewery, which had humble origins in a shed on a Reikorangi farm in 2000, has appointed a new Head Brewer. Brayden Rawlinson, who is also a Kapiti local, has been working as head brewer at several different Sydney breweries including Nomad Brewing and Black House Brewhouse. Rawlinson is described as a perfect fit because of his ‘technical brilliance and passion for interesting and innovative brews.’ Tuatara is the only brewery in New Zealand with two Championship Brewery wins.

The 2018 Brewers Guild Awards were held in Nelson this year. It is the home town of Sprig and Fern Brewery, which took home a record 13 medals in a range of categories this year. Master Brewer and owner Tracy Banner said it was ‘truly humbling’. They were also recognised for their outstanding packaging which was designed by Inject, a Wellington design company. Sprig and Fern have three locations in Wellington, on Tinakori Rd and Jackson St Petone, and the ‘Little Sprig’ in Seatoun.

Chardonnay is a classic but polarising wine varietal, which has often been ignored by drinkers in recent years. However it is making a comeback with a strong showing at the New World Wine Awards. The Wither Hills 2017 Chardonnay was awarded champion white wine for the entire competition. As a condition of entry to the awards, all wines must retail for $25 or less.

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BY THE BOOK

Re-verse I N T R O D U C E D BY C L A I R E O R C H A R D

All my feelings would have been of common things All my feelings are of common things of the clock going on, of the next meal or the last one, of the washing on the line and if there’s enough heat to dry it, of how to clean a lawnmower just enough to make the Salvation Army man want to take it away, with old grey grass stuck to the blades, the tyres that hold dirt, like cleats in walking shoes. Also a dryer I bought forty years ago. I stick the manual and the expired guarantee inside the metal drum. All those clothes it turned and churned, the lint that it trapped in its door. I once thought many things would make my life happier and now one by one I will let them go. By Rachel Bush, from Thought Horses, Victoria University Press (2016)

Claire is the author of poetry collection Cold Water Cure. Her resolution for 2018 is to complete the manuscript for her second collection. You can find links to her work at her website, claireorchardpoet.com

THE POET

WHY I LIKE IT

Rachel Bush (1941–2016) was the author of four poetry collections: The Hungry Woman (1997), The Unfortunate Singer (2002), Nice Pretty Things (2011) and Thought Horses (2016). She appeared in Faber’s Introduction 3 as well as in anthologies and journals such as Sport, Landfall and The New Zealand Listener. Until 2003 she taught English at a secondary school in Nelson. Rachel passed away in March 2016, one month before the publication of her final collection.

In assembling this list of the ordinary, Rachel Bush has created an extraordinary poem. Her focus upon daily chores – the endless round of meal preparations, the need to get the washing done, the dryer turning and churning the clothes – while the clock ticks on has me thinking about the similarly relentless churn of life, one day inevitably following another, until the motor gives out. Sifting through a mess of instruction leaflets and guarantees only to discover the failed appliance is significantly older than anyone remembers. The lint collecting in the dryer and the grass caught in the lawnmower remind me of all the stuff I’ve accumulated and how I’ve started to feel hemmed in by it all. The way so many things I once longed for, and scrimped and saved to afford, eventually became obsolete, unwanted, unused, unfashionable, worn out. A lot of them are still with me, stashed in a cupboard somewhere. I remember the sad moment I discovered the super-stylish, stretch-satin jumpsuit I’d worn to my final school dance had been ravaged by wardrobe moth larvae. Yet, when that musty old garment finally left the building, I felt lightened by its departure. Whatever I’m hoping to gain from the things I surround myself with, the final lines of this poem remind me that, at the end of the day, I will let them all go.

IN BRIEF This poem was first published in Sport (2016) and later in Thought Horses, which was longlisted for the 2017 Ockham New Zealand Book Awards. The title is a line from the Samuel Beckett play Waiting for Godot.

BY THE BOOK

NOT JUST A PHYSICIST The Goethe-Institut, which spreads the word about German language and culture, asked students of German from four high schools to visually interpret a verse of Einstein’s poem Bolschi, about visiting a dentist. Lower Hutt’s Rudolf Steiner School produced a drawing of a dental session. The groups then worked with graphic artist Sarah Laing on visual interpretations of two other Einstein poems. Laing’s cartoon interpretation of Bolschi – with words by Victoria University professor Marco Sonzogni – has been published by Wai-te-ata Press and Victoria.

IN THE FAMILY

SPEED WRITING

HER MOMENT

Anna Reed’s new Khandallah art gallery Mitchell Studios has opened with an exhibition showing the work of her uncle Leonard William Mitchell (1925–80) who painted ambitious murals and portraits. Meanwhile, his father Leonard Cornwall Mitchell (1901–71) designed and illustrated iconic tourism posters and stamps. Anna has designed a new hardback Mitchell & Mitchell (Potton & Burton, $80) about the ‘forgotten artists’, written by Peter Alsop.

Alice Till-Carty, who comes from Porirua and now works as a software tester in London, is taking part – for the 13th time – in National Novel Writing Month, a global initiative challenging participants to write 50,000 words during November. ‘Since 2008 I've been writing about various characters in one family, so they all overlap.’ She hasn’t yet tried to publish any. The ‘NaNoWriMo’ website provides tips, and ‘pep-talks’ by wellknown authors.

Otaki dramatist/fiction writer Renée Taylor (Ngāti Kahungunu) – usually known simply as Renée – received the 2018 Prime Minister’s Award for Literary Achievement: Fiction, and $60,000, last month. The 89-year-old started working aged 12, initially in woollen mills and a printing factory, then in theatre, radio, and as a TV scriptwriter. Her most recent book is These Two Hands: A Memoir (Mākaro Press, $38); she also teaches memoir workshops.

BY THE BOOK

Cult following P H OTO G R A P H Y BY A N N A B R I G G S

Crime writer Jennifer Lane tells Sarah Lang how a real-life cult inspired her award-winning novel.

cult came to town while Jennifer Lane was growing up in Cambewarra, a tiny rural settlement in New South Wales, Australia. The religious group set up camp there after someone supposedly saw a vision of the Virgin Mary, and they stayed several years. Jennifer was in her early teens at the time. ‘We swam in a waterhole near their camp, and my mum said “Don't go near them. Don't talk to them.” Mum doesn’t remember this, but I asked her what would happen if I did, and she said “They might stone you to death”. I had visions of them capturing us. The leader is still in jail after having sex with underage girls.’ This experience inspired Jennifer’s novel All Our Secrets, in which a cult sets up camp in Coongahoola (based on Cambewarra) after hearing a local has reported seeing a vision of the Virgin Mary. The rest of the book isn’t based on historical fact. Gracie, an empathetic 11-year-old, has parents on the verge of splitting up, three younger siblings, and classmates who start bullying her. She has only a vague idea of what happened nine years before at the notorious River Picnic. It turns out that Coongahoola residents inadvertently drank a soup made from magic mushrooms – and that nine months later many children were born, some of whom didn’t resemble their mothers’ husbands. Now they’re aged nine, ‘River Children’ start disappearing. Who’s to blame? This is a page-turner you can read in a weekend, with well-drawn characters like nosy, attentionseeking supermarket checkout operator Martha Mills. ‘I “borrowed” a few eccentric people from Cambewarra for the book,’ Jennifer admits. The book

is ‘crime-lite’, so to speak. Because the narrator is a child who is removed from the actual crimes, readers won't get too adrenalised before bed. ‘There's no gore. I didn’t initially consider it a crime novel.’ But after All Our Secrets was well reviewed by a crime writer, Jennifer decided to enter the 2018 Ngaio Marsh Awards (for New Zealand crime, mystery, thriller and suspense writing). She was surprised to be one of five finalists for Best First Novel, and flew to Christchurch in September for the awards. Jennifer was shocked to win. She hadn’t prepared a speech. ‘I felt like a bit of a fraud as I thought “my book isn’t really crime, is it?”.’ At the festival, she attended a crime-writing workshop led by Scottish author Denise Mina. Jennifer also met a young woman who had written a memoir. ‘I thought “aren't you a bit young for that?” but then I realised she was Lilia Tarawa, who grew up in Gloriavale.’ The award has boosted Jennifer’s confidence. ‘I feel like a proper writer after my long, lonely slog.’ All Our Secrets took five years to write. Jennifer began while pregnant with first child Tess, now 12 (Matilda is 10). ‘My planning is hopeless and I'm a massive rewriter. Once I got to the end of the book, I changed the beginning.’ It wasn’t until Jennifer revised the book that she realised how thematically prominent religion is in it. Like Gracie, she was brought up a Catholic, but she is no longer religious. In 2007, Jennifer was one of six winners in New Zealand Book Month’s ‘Six Pack Two’ competition with an extract from a draft of All Our Secrets. The extract was published in an anthology with work by

SECTION HEADER

BY THE BOOK

the other winners, all well-known writers: Elizabeth Smither, Charlotte Grimshaw, Dave Armstrong, Faith Oxenbridge and Tracey Slaughter. In 2010, author Penelope Todd mentored Jennifer for a year (largely via email) through a NZ Society of Authors programme. ‘Penelope sent the manuscript back with hand-written comments.' Penelope, who also runs the Dunedin e-book press Rosa Mira Books, offered to publish All Our Secrets as an e-book. ‘But I wanted a physical, traditional book too,’ Jennifer says. She wanted something she could touch. Given the book’s setting, Jennifer decided to try Australian publishers. First she needed a literary agent with the appropriate contacts. ‘It's hard for a new writer to find an agent, but I got one in Melbourne. She asked me to rewrite it as a young-adult novel, so I did, which was good as I fleshed out Gracie’s character. I didn't want to make Gracie a teenager, though, because she’d lose her naivety. But Australian publishers said it “wasn’t young adult enough” or “wasn't quite adult enough”.’ It was dispiriting, but Jennifer didn’t want to selfpublish. ‘I think having a publisher adds credibility and that having an editor is crucial.’ So she contacted Penelope from Rosa Mira Books again. In October 2017, they published All Our Secrets not just as an e-book ($13) but also a paperback ($35). ‘I’m also procrastinating on another “crime-ish” book I've been writing for ages.’ Her daughters are aspiring writers. ‘They say “can this story be published?” and I say, “er, not yet.”’ By day, Jennifer is a freelance copywriter (currently contracting at Maritime New Zealand). ‘For me, crazy early is the best time for writing: 5 or 6am to do an hour before work.’ She also does marathons, and is a member of the weekly Wellington Marathon Clinic.

As kids, she and her three brothers were outdoors a lot. There was no ‘cotton-wooling’: they roamed around on bikes, swimming, exploring. Her mother, a teacher, brought ‘heaps’ of books home from the library. At age 11, Jennifer won a school creativewriting competition with a short story about World War II. Jennifer always wanted to write, and did a Bachelor of Arts in communications at the University of Canberra. ‘But I needed to see more of the world – and get life experience – to write anything of worth.’ So she went backpacking, mainly around Europe. Travelling solo, she lugged a six-kilo laptop around for two years but barely used it. Jennifer met her New Zealand husband Allan Mainwaring (a web content manager) in an Edinburgh hostel. They weren't sure where to settle, but she liked Wellington when they visited. ‘It was the sunniest, stillest day, so Wellington tricked me,’ she jokes. Jennifer has lived here for 21 years, currently in Broadmeadows. She loves her adopted city, but spends a month every Christmas in her Cambewarra childhood home. This month, she’ll read from her book in a LitCrawl Wellington’s ‘Tasters’ session on 10 November (Crumpet, 6pm) alongside novelist David Coventry, novelist/poet Kirsten Warner, and Irish poet Doireann Ní Ghríofa. And she’s looking forward to attending Rotorua Noir – New Zealand’s first-ever crime-writing festival – in January. 2018 has been quite the year. In August, Jennifer was long-listed for Best First Crime Novel in the Ned Kelly Awards (for Australian crime fiction). After noticing this, an Australian publisher asked to publish the book there. How does all this feel after her manuscript spent so long on publishers’ ‘slush piles’? ‘It’s a mixture of emotions – satisfaction, disbelief, and excitement.’

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Ar t attack BY SA R A H L A N G P H OTO G R A P H Y BY A N N A B R I G G S

Frances Bennington lives surrounded by the art, furniture and objects she has collected for more than four decades.

he open-plan living area of her Roseneath home feels like an art gallery − ceramics, vases and sculptures are lined up on the floor like soldiers, while glass works are displayed on specially made shelves. Two paintings hang on the living room walls, filling the scarce wall space.‘I had to renovate to get some wall space,’ she says. In the entrance way to her two-storey home high on a Roseneath hill, two Michael Parekowhai panels greet visitors, along with a Gregor Kregar installation − ceramic figures of men in pink overalls from his ‘I disappear’ series. A painting by the late Philip Clairmont hangs on a wall near the front door. The part-time legal office manager also loves colour, and says: ‘I could not live in a house of beige or white.’ Five years ago, she renovated the 1950s-era house, extending the living area and building a new kitchen. The fresh kitchen joinery is lacquered an eggplant shade, while the splashback is opal glass, reminiscent of the sea she watches out the expansive windows. The same blue-green opal glass features in her bathroom. Off the living area, the wooden deck has picture-postcard views over Wellington Harbour, framing Shelley Bay in the distance. Frances likes to garden, and she painted three

planters different colours; the plants in them include perfumed roses she loves to pop into one of her many vases. ‘To get up in the morning and see colour gives me a positive start to the day,’ she says. She covets art that has meaning to her, and pieces she wants to live amongst. Over the years, she has never bought a piece simply because an artist is in vogue. ‘You should buy what you love,’ she says. ‘A lot of artists I’ve met personally. If I didn’t like them, I don’t think I would own their art work.’ In the kitchen, she pulls out two jugs she bought in a box for $1 at an auction in Christchurch in 1974. That was the year her art collecting habit began − her penchant for glass art stems from a red glass jug which she still has today. Red is her favourite colour. ‘Red is a strong emotional colour and makes you sit up and take notice.’ In her home, she has arranged every piece on display in a bid to achieve a sense of balance. A number of glass works by New Zealand and international artists grace her living space − Dale Chihuly, Gary Nash, David Murray, Katie Brown and Warren Langley, to name a few. A glass lamp shade with red glass roses hangs in the living room. A Greer Twiss bronze sculpture rests on a cabinet.

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Frances’ art collection is a history of an interesting and well-travelled life. Growing up in Auckland in a large Catholic family, her mother was a dressmaker. Frances studied to be a librarian, although she always had an eye for arts and crafts and became an accomplished knitter. She attended her first contemporary art exhibition of works by Milan Mrkusich in Auckland. ‘I found that I liked modern abstract art. From then on, I went to exhibitions and looked at things and I think that’s how you develop a personal taste. You should buy what you like.’ Her late husband, Seddon, was a museum executive who managed museums and galleries in Wellington, Dunedin, Perth, and Pittsburgh. His career took them to live in different places, where Frances often met artists, invited them home, and bought their works. While living in Perth in 1980, she managed a contemporary art gallery, staging an exhibition of glass art and neon works. They lived in Pittsburgh from 1994 to 2004, when Seddon ran the Carnegie Science Museum. Frances had a florist shop in Pittsburgh, where she began acquiring and collecting vases, which now fill her living room. While they were in Pittsburgh, Michael Parekowhai had an exhibition at the Andy Warhol museum, which was associated with the Carnegie museum. ‘He was staying just below where we lived. I was interested in his work and I like trying to support artists.’

Barry Brickell stayed with the couple when he visited Wellington in the early 1980s. A curving Brickell ceramic sculpture is now a memory of that visit, outside on the deck. ‘Back then, a lot of artists had no money, they didn’t get grants and they learned to live really simply through their art.’ When the couple furnished their first home in the 1970s, they bought antique kauri dressers and beds made in New Zealand in the early 1900s. A kauri dining table she bought for $30 now sits in the open-plan dining area, while she has kauri furniture in her bedrooms. A kauri antique bed in the master bedroom has a 2.5-metre-high bedhead – Frances had to raise the ceiling to keep it when she did her renovations. A 1.5-metre-high kauri dresser sits on the opposite wall, complete with a secret drawer. Frances loves the golden colour of kauri furniture. She also covets chairs. Drawn to 3D objects, she finds chairs to be interesting sculptural forms, which also have a functional purpose. ‘I like the design and the practicality of this one,’ she says, pulling out an Italian Vico Magistretti verandah chair she bought in 1981. Frances’ four grandchildren have learned to live among her art and sculptures when they visit her. Her two now adult sons grew up surrounded by art. ‘I never put anything away with my boys or my grandchildren. I’ve never had a problem with it.’

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F E AT U R E

Post master A lot of the archive material from a century ago is either black and white photography or muted postcards. So when Matthew Plummer came across postcards showing colourful and dynamic early scenes of Wellington they jumped out at him.

n the spring of 1906 a middle-aged artist sat halfway up Thompson Street with a small board balanced on his knees and a palette of oils at his side. The shades of green he used for the quiet residential street gave way to the purples and grey of industrial Te Aro, and a skyline dominated by brick chimneys belching black smoke into a clear blue sky. He paused to exchange some words with the driver of a horse and trap slowly clip-clopping up to Brooklyn. Decades of painting landscapes under the Southern Hemisphere sun meant Albert Henry Fullwood’s skin was leathery and wrinkled, and his thick black hair and beard added a certain wildness to his demeanour. But the speed at which Wellington materialised on the canvas was evidence of a master commercial artist working on a tight schedule to feed the first truly global craze: collecting postcards. The city Fullwood arrived in was the bustling, confident capital of a young country that had rejected joining the Commonwealth of Australia five years earlier – and Lambton Harbour was its focal point. Ocean liners carried passengers to the far reaches of the empire, while tramp steamers and barques worked their way around the coast – the ascendancy of fire over wind not yet complete. The yachts must have caught the publisher’s eye back in London, with an approving caption on the card’s back stating the number of boat clubs meant ‘like true Britons, all the inhabitants love the sport’. And the elegantly dressed women walking their dogs unaccompanied around the Government Buildings and Molesworth Street were good material for postcard

sales in Europe, with the small print reminding the world of our universal suffrage: ‘Measures that have only been talked of in other countries have been in existence in New Zealand for years’. Fullwood’s streetscapes show the city (population 60,000) in the final year or so before the rise of automobiles – with pedestrians and cyclists mixing with horse-drawn carts. Wellington City Corporation had just taken ownership of the tram network, and the odd choice of Thompson Street for a city panorama was likely because of its proximity to the newly-opened route to Brooklyn. The electric tram would have passed hundreds of workers’ cottages packed into Te Aro Flat’s lanes – the harsh conditions of innercity living were only a decade after the typhoid epidemics that ravaged Wellington and drove people to the safety of neighbouring boroughs like Karori. The Kelburn cable car and the Town Hall (opened in 1902 and 1904 respectively) didn’t interest him – a cynic would note the abundance of harbour and waterfront scenes were easier pickings for someone arriving by ship with little time to spare. Fullwood was born in Birmingham in 1863 and emigrated to Australia aged 20. He spent his next three years travelling as a staff artist for the Picturesque Atlas of Australasia, and the range of places he visited during his early career was extraordinary: Thursday Island, Torres Strait, Port Moresby, New Guinea, and later New Zealand. He married Clyda Newman in 1896. By then two of his paintings had been purchased by the Art Gallery of New South Wales.

F E AT U R E

The economic downturn and collapse of the Sydney art market at the end of the 1890s was a catalyst for travels further afield. Fullwood took his wife and their two small boys to New York, Europe and Cape Town in 1900 before setting up home in London (and having another child; a daughter) – just as the world-wide postcard craze was hitting full swing. Collecting cards was a phenomenon in the decade before the First World War, and Raphael Tuck & Sons – a postcard publisher owned by a London-based Prussian Jewish-émigré family – were one of the biggest names in the business. In 1899 the company persuaded the British Postmaster-General that cards should be a standard size with both message and address on one side and the other side free for artwork, creating the postcard we are familiar with today – and the first truly mass media. Tuck’s ‘Wide-Wide-World’ series was launched in 1905, with bright, colourful ‘Oilette’ cards printed in Bavaria (the Tucks didn’t rate British colour printing) and exotic themes like ‘The Arctic Regions’, ‘Pleasure Resorts of Sydney’ and ‘Native Types of India’. The Oilettes were sold in sets of six scenes (half a shilling a pack) and promptly became highly collectable. The extension of ‘Imperial Penny Post’ rates to New Zealand in 1905 helped Wellingtonians swap cards and news with friends and relatives back in the Mother Country for the equivalent of about $2 at today’s rates. Cheaper than telegrams and more widely available than telephones, the volume of mail exploded, with our post service handling 7,500,000 cards in 1909, a figure dwarfed by the estimated 1,000,000,000 cards posted in America at the same time. The General Post Office on Customhouse Quay must have been a hive of activity. Like any rage there were detractors – Punch magazine said letter writing was being killed, mail carriers complained of exhaustion, and religious leaders condemned the ‘plague’ of cards. But it was good business for artists: the interest in collecting cards meant Tuck’s range had extended to a staggering 80,000 different cards by the time Fullwood settled his family in Lon-

don. The postcard company promptly sent him back to the Antipodes to capture more scenes for the ravenous trade: the range of Fullwood’s scenes published in the 1907/08 series suggests he worked to a tight schedule in each of the cities he visited across Australasia, possibly staying in each city for two days or less. Ultimately he completed 130 Oilette scenes for Tuck. Postcard mania carried on unabated until war broke out with Germany in 1914. Fullwood – by now in his 50s – served in the Royal Army Medical Corps and ended up as Official War Artist to the Australian Imperial Force. His wife Clyda spent time in mental asylums before her death in 1918, and two of their children died at a young age – but Fullwood remained prolific until he succumbed to pneumonia in 1930. While never critically rated, his work was exhibited extensively during his lifetime (with multiple showings at London’s Royal Academy) and numerous paintings are held in Australia’s major state galleries. Raphael Tuck & Sons’ final hurrah was printing cards with secret escape maps for POWs during World War Two. The destruction of the head office and artwork archive during the Blitz provided additional motivation for their work. The family sold the business in the late 1950s. Fullwood’s depiction of Wellington didn’t last long. The fire that engulfed much of the Parliament Buildings in December 1907 would have happened months after Tuck published the set of Wellington cards. One card in my collection has the message ‘The houses here shown were burned four weeks ago, at present we have no Parliament House’. The spectacular General Post Office that towered over the adjacent masts and funnels was demolished in the 1970s, with the InterContinental Hotel building taking its place – progress, apparently. The waterfront scenes that caught the artist’s eye are a tantalising glimpse of the commercial bustle on Queens Wharf ’s ‘inner T’ (now lost under the TSB Arena) that ebbed away with the rise in air travel and containerisation in the 1960s. But Fullwood’s talent for capturing cityscapes means the Wellington shared by postcard collectors over a century ago is still recognisable today – most of all, we are still a city of walkers.

T O R Q U E TA L K

Door to door excellence W R I TT E N BY RO G E R WA L K E R P H OTO G R A P H Y BY LU K E B ROW N E

o why, in the firmament of motor manufacturers, does the letter X have such appeal? It’s not just BMW; Ford, Fiat, Nissan, Mazda, and more recently Tesla have embraced it. But BMW’s first X5 was released way back in 1999, as a sensationally innovative new mid-size ‘crossover’ vehicle combining good looks, luxury, practicality and robust construction, with high performance, delivered through all four wheels. Mixing these parameters, so that excellence in any one area would not compromise any other, instantly hit the sweet spot. History may well record that the X5’s introduction was the point at which the decline of the conventional sedan began. Back then, it was labelled an SAV, for Sports ‘Activity’ Vehicle rather than the more prosaic ‘Utility’ as in SUV. And sporty they are. It’s hard to know whether the Germans were insulted or flattered when the Chinese Shuang-Huan SCEO turned up with their version. Either way, they weren’t going to stand for it. In 2008 the Regional Court of Munich declared the SCEO a rip-off of the X5, ordered the destruction of all similar examples in Germany and forbade their sale there. Since then there have been four new X’s. In 2003 the X5’s baby brother X3 was born. The stylish X2 arrived in 2007, still sporty but featuring advanced technology. It was followed in 2008 by the X1 and in 2009 by the X6. The big brother X7 is due next year. This impressive family lineage certainly gives BMW the moral right to use that prized X. So to the brand new 2018 X4, which has just been released in New Zealand, filling the niche between the X3 and X5. There are three models on offer: the X4 x Drive 20d 4-cylinder 2.0-litre diesel, the X4 x Drive 30i 4-cylinder 2.0-litre petrol, and the stonking top of the line 3.0-litre 6-cylinder X4 M40i. All have 8-speed transmissions, and all the bells and whistles. Prices are $98,700, $107,500 and $126,500 respectively, including GST. I am excited when Sandy at Winger BMW proudly hands me the remote activation keys to the resplendent black X4 x Drive 30i (the ‘mid-range’ one) standing outside her office. Its body is tautly curved in all the right places, with short rear and front overhangs giving it a purposeful look. As I adjust the personalised seat settings to fit my unconventional body shape, I grip the delightfully tactile leatherrimmed steering wheel, and observe the generous rear seat legroom and the quality of the cabin design.

I settle in, and my enquiry begins. I can report that this ‘middle of the range’ X4 has ‘cut cat’ performance; its 265kw and 500Nm gets it to 100km/hr in 6.3 seconds. But as a person who actually likes to drive a car, I am interested in whether this advance of technology is leading us closer to the day we submissively hand over the actual driving to a computer, and become passengers rather than drivers. So the head-up display tells me when I am speeding. That’s good to know and I slow down. So the ‘Driver Assistance Plus’ system makes sure I drive safely and in comfort. And that’s comforting. The infotainment system entertains and informs (that’s what I try to do in these columns) in ‘complex’ driving situations, such as traffic jams, navigating junctions and managing lane changes. The driver controls the big multifunctional central instrument display by any one of touch, voice, or gesture. It’s always good to have good information. Then if you want more, there is a ‘door to door’ navigation function which analyses traffic conditions and can calculate departure and arrival times on screen or via a compatible smartphone. That map also eliminates the need to squint at the tiny map on your phone. Beyond merely showing the space in front and behind, ‘Car-Eye 2.0’ is a highly sensitive full HD camera that captures events around the car, even at night. In the event of disturbances and movement outside the vehicle, the camera records the situation in order to document accidents, or attempted break-ins. That would be helpful with insurance claims. If you accidentally drive off a cliff, this camera will record the drama. A black box will then tell the ambulance service exactly where to find you, but interestingly, there isn’t actually allowed to be a camera inside the car to enable an assessment of your injuries, because apparently that would infringe privacy. Happily I can report that automating the chores of parking, turning wipers and lights on, navigation, manoeuvring in tight spaces, avoiding other people’s stupid driving, putting on the parking brake, finding that elusive key, and opening and closing the boot is very effective. Also if you prefer changing gears yourself, the car will let you. So the X4’s ‘Driver Assist Plus’ still respects and rewards the driver. The X is well deserved. If you have kids, stuff, journeys to be taken, and still have a pulse, then I would say that this is the vehicle for you.

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WĀ H I N E

Buried instincts BY M E LO DY T H O M A S

t’s been just over a year since Ronan Farrow published the first in a series of allegations of rape, sexual assault and harassment against Harvey Weinstein, bringing about a movement that saw survivors empowered by shared experience under the banner of #MeToo. During this time we’ve watched as countless powerful people − mostly men but some women too − were called out for historic offences, causing the platforms of power from which they had previously operated to crumble. Kevin Spacey was dropped from the final season of House of Cards, Bill Cosby went to jail, Louis C.K. lost a standup special − and so on. But most of those accused have avoided jail time or even a trial. Even those whose careers were initially hurt seemed to bounce back with alarming speed − for example Louis C.K., who recently returned to stand up (if that doesn’t feel like ‘too soon’ consider that it took Monica Lewinsky two decades to return to the public eye after a scandal in which many believe she was also a victim). Of all the stories we’ve seen in the media over the past year, one that’s stuck with me is that of comedian Aziz Ansari, who was the subject of a story published on babe.net describing a sexual encounter filed by many under ‘bad but noncriminal’ – in which the woman involved claims to have made her discomfort known through both verbal and nonverbal clues which were largely ignored by Ansari. The story struck a nerve with people for the same reason the viral short story Cat Person did around the same time − not because the scenes described were especially violent but because they were so familiar. Both stories described heterosexual sex where the women felt letting sex happen was the easiest way out. At the time many wondered aloud why the women in those situations didn’t ‘just leave’, but these people either don’t understand or are wilfully ignorant of the ways that children, and especially girls, are socialised to prioritise other peoples’ comfort over their own: to hug the distant relative they barely know, to sit politely through a stranger’s questioning, to wear the pretty dress to the party when they want to wear leggings.

It should be of no surprise, then, that girls turn into teenagers who let things happen to them rather than face the hurt feelings, guilt or worse of asking someone to stop; into young women who grit their teeth through the inappropriate 'jokes' of that one workmate, the come-ons of the dude at the bar or the Uber driver asking if they’re going home and if so, if anybody is waiting there for them. All that conditioning is hard to undo. A few years ago, as I stood to get off a bus, the old man next to me grabbed my ass. It was only afterwards, standing on the pavement shocked and shaking, that I managed to short-circuit the internal narrative telling me, ‘it must have been a mistake’ in order to come up with a fitting response. Rewind back to little Melody, aged nine or 10, playing at the local swimming pool when an older boy corners her and slides his hand between her legs. She kicks him and strikes out at his face, and he sheepishly slides away while her heart races. What happened to those instincts? If they are buried, how might we go about uncovering them? And most importantly, how do we preserve them in our own children so that (provided it is safe to react, because sometimes it isn’t) they can do so without a second thought? The other day I read a thread on Twitter from a woman named Erynn Brook, who recalled her first overnight sleepover at age seven, before which her mother made sure Erynn knew that not only could she leave at any time, but that she would never be punished or treated as if she were overreacting, in this instance as well as all others. This morning I’m in Auckland for work, but back home my daughter is packing to go away for her first sleepover. We’re on FaceTime and, not for the first time, I’m making sure she knows that she can come home at any time. ‘Muuuuum,’ she exclaims, rolling her eyes, ‘I’m not coming home, I’m staying all night.’ ‘That’s fine babe,’ I say, ‘As long as you know you can always leave, and we’ll always be there to get you.’ She knows. I just hope that with a little help from us, she doesn’t forget.