Issue Two by The Plantation Store Limited

Published Quarterly by Quabax Publishing House Printing by Colorite Tamaki Makaurau, Aotearoa [Auckland, New Zealand] Overdue is a registered trademark of The Plantation Store Limited. Overdue Magazineâ&#x201E;˘ Summer/Winter Edition March 2012 PO BOX 48016 Blockhouse Bay Auckland 0644 New Zealand Copyright ÂŠ 2012 The Plantation Store Limited All Rights Reserved. No part of this publication may be produced in any form without written permission from the publisher. Distributed Online in Spanish, English and Japanese. Distributed Hard Copy in English. Limited Edition 1000.

Production Team

Chieftess Associate Editor Business Manager

Teremoana Rapley Wiremu Te Kiri Bill Urale

Interpreters Andrea Carboni Humberto Burcet Jared Sheriff Photographers Geoff Budd (Lensflare) Matt Grace (Photography) Humberto Burcet Bill Urale Teremoana Rapley Steve Russell James McLeod Susannah Wimberley Writers Rudi Vodanovich Wiremu Te Kiri Teremoana Rapley Design Team Teremoana Rapley Kahuti Nuku Steve Russell Email info@overduemagazine.com Postal Address PO BOX 48016, Blockhouse Bay, Auckland 0644, New Zealand. Merchandise www.plantationstore.co.nz Music www.kingkapisi.net Twitter http://twitter.com/#!/plantationstore Facebook http://www.facebook.com/pages/The-Plantation-Store/92410826350

www.overduemagazine.com 5

Issue Two

Overdue Magazine Summer/Winter Edition

Big Ups

Strength, Love & Light

to our people of Otautahi, Aotearoa Mauriora

content

maryann talia-pau villains julian hargreaves

rakaa iriscience bella shanti zoe hobson humberto burcet --------------overstayer catalogue

Plates Front Cover, Still taken from King Kapisi, Rakaa Iriscience, Scratch 22 Music Video, Crush; DOP Geoff Budd Pg 6 Graff Decapitator, Overstayer Design; Montsta Pgs 10 -11 Still taken from Elemental Forces Music Video, King Kapisi; DOP Simon Baumfeild Pg 13 Sth Grand Avenue, Downtown Los Angeles, King Kapisi; Teremoana Rapley Pg 14 Teremoana Rapley, Campbelltown Arts Centre, Sydney, Australia; Susannah Wimberley Pgs 16 - 17 Work from Maryann Talia-Pau. Photo Courtesy of Maryann Talia-Pau Pgs 19 Photo Courtesy of Maryann Talia-Pau ; Unknown Pgs 21, 23 Work from Maryann Talia-Pau. Photo Courtesy of Maryann Talia-Pau; Unknown Pg 25 Mo Loâ&#x20AC;&#x2122;u Tama, Work from Maryann Talia-Pau; Stephen Rhall Pg 27 Game On, Work from Maryann Talia-Pau; Raphael Kilpatrick Pg 30 - 31 Iceland, Steve Russell Pg 35 - 36 Courtesy of Villains; Spell Pgs 44-45 Still taken from King Kapisi, Rakaa Iriscience, Scratch 22 Music Video, Crush; DOP Geoff Budd Pg 47, 48, 50, 53, 55, 56, 59 Photos courtesy of Julian Hargreaves; Julian Hargreaves Pgs 60-61 Still taken from Elemental Forces Music Video, King Kapisi; DOP Simon Baumfeild Pg 62-63, 65, 66, 70-71; Courtesy of Rakaa Iriscience Pg 76-77 Dilated Peoples & King Kapisi, Backstage Powerstation, Auckland New Zealand; James McLeod Pgs 84 Bella Shanti, Auckland, NZ; Teremoana Rapley Pgs 87, 90-91, 92 Bella Shanti, Auckland, NZ; Bill Urale Pgs 95, 96, 99, 100, 102-103, 105 Courtesy of 38 Pictures Pgs 109, 111, 115, 116-117 Courtesy of Humberto Burcet Pg 120-121 Still taken from Sfari Music Video, King Kapisi, Wat Pho, Bangkok, Thailand Inside Front and Back cover design; Taken from Overstayer Classic Range Collection by Drew Gregory; Teremoana Rapley Back Cover, King Kapisi, Auckland, NZ; Matt Grace 12

Introduction

Dreams and aspirations are easy to write down and think about but can be difficult to implement without the correct mindset and tools. It takes commitment, dedication and perhaps the drive to carry out our dreams is something that becomes part of the New Zealand psyche delivered via our free education system, or social welfare system, or the fact that we are one of the top five countries in the OECD with the worst record of violence and child abuse. We are an intricate society living in the land of the free and opportunity. If our people remain asleep and allow the decisions that our democratic government make on our behalf benefit primarily 5% of our society. The 35% apathetic voters should remember: We the generation of fighters for the people will be leaving this country in your hands.

Think. Make a difference. This is our world. 15

I met Maryann via email. She messaged our store after watching us showcase at AWME in Melbourne, Australia in 2010 with the subject line reading “Love Your Work!”. I replied to thank her for her kind words and kept in contact. Months later, she emailed to say she was coming over to attend Auckland’s Pasifika Festival in New Zealand. On meeting her face to face, the sistar possesses an energy and vibrancy that is transpired into her works, Pasifik Bling to be specific.

Maryann Talia-Pau

Meet

interview by Teremoana Rapley 18

Artist.Designer.Weaver

You were born... In Apia, Samoa to Samoan parents. My mother grew up in Fagaloa and Apia and my father grew up in his village, Lufilufi. There is also German ancestry on my motherâ&#x20AC;&#x2122;s side and Chinese on my fatherâ&#x20AC;&#x2122;s side. You spent your childhood... Growing up in Mt Roskill, Auckland, Aotearoa NZ. I have very happy memories of going to our local primary school, Owairaka Primary. It was there that I developed a love for the arts: visual, fibre, performance and music. It was a time of fun and exploration. I was always doing something; making a miniature posie for competitions, drawing or hand sewing an apron or cushion. I would always do my very best to present something beautiful and well crafted. I became a very hard working and ambitious young girl, I even learnt to love and enjoy maths and sports!!! (which I later hated in high school) I was a champion swimmer and I loved netball and volleyball. My family moved to Melbourne when I was 10. It was a really difficult transition, mostly due to culture shock. We moved to a suburb called Brunswick (inner city Melbourne) and there were no Islander or Maori families anywhere. It was pretty traumatic for the first little while, but my parents were amazing in their determination and commitment to make things work and be comfortable for us. Negotiating through new cultures and languages has helped me appreciate even more, my own cultures and people.

Your family impact the work you do as an artist... Wholeheartedly!! Being a woman and a mother, and identifying as a Samoan is the heart of my arts practise. I come from a family and people who are industrious and courageous. I have learnt how to have a go and be gracious and say sorry when I have made a mistake. I am learning to celebrate my gifts and use them to connect with and reproduce elements of Samoan culture. I am learning that everything is a teacher and that I must listen to Godâ&#x20AC;&#x2122;s voice, which is in those who love and support me unconditionally, in the land, in the sea and in the music and work of true artists. For me, the life long practise of being a mama canâ&#x20AC;&#x2122;t be separated from being an artist. Both inform each other, either through the process or the presentation of a work. Being a mama reminds me that most of the hard and powerful work happens in private, where there are no lights or accolades, just you (and your partner, if youâ&#x20AC;&#x2122;re lucky to have one) and your child/children. We are blessed to have three beautiful kids. And each time someone tells me how much they find our children to be extraordinary, I feel proud. I feel that my work has more depth and that I have more to offer because I have had time for things to percolate. On the flip side, things are coming out very fast and I am still learning to recognise and manage the flow and direction of my passion and creativity.

You decided to become a “professional” artist... in 2009 when a friend suggested I apply to be part of a selected group exhibition at Craft Victoria. I got in, and so began this amazing journey of learning, making and collaboration. Before that I spent years painting, screening printing, refashioning clothes and jewellery, beading and even tried to reupholster a few bits of furniture when I could. I just worked around our kids, my husbands travels and family life. Part of it was trying to re-use and recycle and create a beautiful comfortable home, part of it was a pure desire to create art. It was what sustained me. Art and design became a beautiful language of inquiry, celebration and survival; of being a woman and being Samoan. It also helped me to engage and create a community, and ultimately, a sisterhood. How has your career as an artist evolved... There are a few significant turning points in my development as an artist. The most recent is realising that, in a spiritual sense, I feel that weaving chose me. The practise and art of weaving is undeniably a passion for me, but for the longest time, it has been the metaphor of weaving that has intrigued me the most. I find weaving, and the whole language of weaving, especially Samoan, to be a divine process of bringing people, ideas and stories together. Being a co-founder of the Pacific Women’s Weaving Circle (PWWC) and working with other siStars to make that space happen has been incredibly rewarding. We had to fight for that space, and in doing so, we have created a sacred holy space where we can feel strong in who we are as women, sistars, mothers, aunties, grandmothers of the big Pacific and not wait for someone else’s permission or money. I feel proud every time I’m in that space. It is truly a beautiful thing, and one day, we hope to support our brothers and uncles to do the same, cos there are so many that want to come and learn how to weave too!!! Collaborating with other artists has helped me appreciate my own craft aswell as theirs. It’s easy and necessary to 24

work alone, it’s harder and often doubly rewarding to work with others. I always look forward to the exchange of ideas and the testing of ideologies. I have been so blessed to work with AMAZING artists and designers to date and most, if not all opportunities, have presented themselves without me having to do any hustle, which is SOOOOO fantastic!!!! I believe in being a good person aswell. Some good ol’ fashion advice given to me by my mamas! The most important lesson learned from your experience, thus far is... To have a break!!! Otherwise you go under and worse still, you miss out on celebrating your achievements with loved ones and seeing what projects need to wait and develop further. I’ve also learnt that my process as an artist is a sacred part of my weaving practise and that it can’t be rushed. I need to make it my business to protect it and to listen carefully to what work will nurture and extend it. Otherwise I become a machine. There’s still so much I need to work through, like what is important to me as an artist, what else do I need to do that will nurture and sustain me? One thing that I have returned to, which I have not done for a long time, is gifting jewellery and some of my pasifk bling. This has always been very important to me, and I don’t ever want to lose that again. It is one of the things that brings me so much joy. There is so much of me in the work that I do, how ever small or large, that when I feel it’s the right time to gift something to someone, the ceremony is very special and spontaneous. I am more interested in making work that I can not sell, and that work comes to life when it’s meant to. Some pieces really belong to someone, it’s magic!!

In the future... I’m currently developing my Kultour arts project for 2012/2013, “Please, can I weave with you?” a national weaving project and collaboration with two amazing artists, Treahna Hamm and Julia Grey. I’m also working on finishing ‘Regal Savage’ with local shoe maker Emma Greenwood, a conversation of healing and new beginnings through the work of our hands. Supporting and being part of the PWWC, developing Haus of Savvy Savage and working with hubby to launch our tshirt label in May. More holidays with the family and time at the beach Just a few things. Very exciting, and the year is still young!!!

CONNECTIONS

http://www.maryanntaliapau.net/ http://www.facebook.com/ pacificwomensweavingcircle http://www.hausofsavvysavage.com/ e: maryann@maryanntaliapau.net

MEET THE H-TOWN

VILLAINS

The Villains (aka Rapscallions) are a 12 man Hip Hop crew made up of members from various crews and solo artists within Hamilton and Wellington, with Juse1 being the only out of town MC representing Welli. Anchored by the experience of some of the Veteranâ&#x20AC;&#x2122;s who have worked in and around the scene for a while now, most of them have known or known of each other for years but they came together as a collective for the first time in the 4th Quarter 2010. Members are as follows... [BACK ROW L-R]

Real Name: Hira Williams Stage Name: Hitz Role: Emcee/ Beatmaker Ethnicity: NZ Maori Iwi: Ngati Pukenga Maunga: Moehau Awa: Tauranga Moana Marae: Te Whetu o Te Rangi Waka: Mataatua Born: Tauranga Raised: Nawton, Hamilton Living: Hamilton Born Name: James Te Kani Hip Hop Name: Alazae Role: Emcee/Writer Ethnicity: Maori Iwi: Tainui Hapu: Ngati Mahuta Born: Kawhia, New Zealand Grew Up: Newcastle, Australia/Kawhia & Hamilton, New Zealand Residence: Hamilton, New Zealand Real Name: Bryan Visala Stage Name: Juse1 Role: Graf Writer/Emcee/Hip Hop Preserver/Aotearoa Zulu Ethnicity: Samoan/Palangi Iwi: Gataivai, Savaii Samoa Ancestors: Samoa Grew Up: Wilton Park, Wellington 04 Living: Welli, Aotearoa Born Identity: James Brooks Stage Identity: JB/WAR Villain/The Yuckeologist Role: Emcee/Beat Maker/Producer/ Yuckeologist Ethnicity: Maori Iwi: Te Atihaunui a Paparangi Maunga: Ruapehu Awa: Wanganui Marae: Koriniti Ancestors: The Original Beings of Human Existence Grew Up: Wanganui (Hinau Street in Castlecliff where I came up) New Zealand/Aotearoa Living In: Hamilton, New Zealand/ Aotearoa 32

Real Name: Michael Stewart Stage Name: DJ Impact Role: DJ Ethnicity: Samoan/Palagi Iwi: Siufaga, Faga - Savai’i (Samoa) Ancestors: Samoa, Scotland Grew Up: Christchurch & Hamilton, New Zealand Living In: Hamilton, New Zealand Real Name: Ngakoma Conner Stage Name: Koma/K.O Role: Emcee Ethnicity: Maori Iwi: Ngati Wai/Ngati Tamatera/ Ngati Porou/ Nga Puhi Born: Brisbane, Australia Grew Up: Shakespears Ave, Fairfield, Hamilton Living In: Hamilton, New Zealand Real Name: Matthew Clark Stage Name: Kortaz Role: Emcee Ethnicity: Maori/Cook Island/Irish/Scottish Iwi: Waikato Hapu: Ngati Tahinga/Ngati Tahinga Grew Up: H Town born and bred Now: H Town living Real Name: Mel James Stage Name: DJ SMV/SMV Role: DJ/MC/Beat Maker/Writer/Producer/Engineer Ethnicity: Samoan/Cook Island Iwi: Vaivase (Samoa)/Aorangi (Cook Islands) Ancestors: Samoa, Cook Islands Grew Up: Tokoroa Living In: Hamilton, New Zealand [FRONT ROW L-R]

Real Name: Sean Drury Stage Name: Z.O (Zoo’s Original) aka Z.O.E (Zoo’s Official Entrepreneur) Role: Emcee Ethnicity: English/Scottish/Irish/Italian Born: Brisbane, Australia Grew Up: Hamilton, New Zealand Living In: Hamilton, New Zealand Government Name: Vinnie Ngaruhe Stage Alias: Slip of the Tongue Role: Emcee/Goon in the Street Ethnicity: Maori Iwi: Waikato Maunga: Pirongia Awa: Waipa Marae: Ta Papa o Rotu Waka: Tainui Came Up: East Side Skamilton Siddy Reside: East Side Skamilton Siddy Birthname: David Greaves Hip Hop Alias: Jet-G aka The General/The Pro-Fessor Role: Emcee/Writer Ethnicity: NZ Maori Iwi: Ngati Kahu Maunga: Maungataniwha Awa: Te Moho Marae: Parapara Waka: Mamaru Grew Up: Mangere Blackbridge Auckland/East & West Hamilton Living in: Hamilton, New Zealand Birth Name: Damian Williams Stage Name: N.I Role: Emcee Ethnicity: Maori Iwi: Tainui Born: Hamilton Living In: Hamilton, New Zealand 33

THE VILLAINS CAME TOGETHER... I can’t remember how the story goes exactly because I wasn’t there at the time but back at the ZOO (Frankton) is where the name came about I think!? It was 2010 and DJ SMV was putting together the 2nd of the ‘Sword Styles’ Hip Hop showcases to give all the upcoming talent here in Htown an opportunity to showcase there skills and for the Dunlaps to have a jam also, that was the gig that Mr Sicc was headlining. There were a few groups on the bill including Funk Village, Frankton Zoo, Koma & SMV (IV Corners) among others, but for this particular set they were all getting together to collab so instead of going with their original group names they decided to throw it all together. Frankton Zoo used to go by FZV (Frankton Zoo Vandals or Frankton Zoo Villains) and there were a couple of ideas thrown around but in the end they came up with ‘Funk Villains’ as an ode to the brand of Hip Hop they were bringing to the table with the ‘Funk’ part (Funk Village’s Hitz provides the soundscapes for the Village) and also an ode to the streets, the rebelliousness, and the raw don’t give a f**k with the ‘Villains’ part. After the success of Sword Styles, the brothers decided to keep the collective they had at the time and carry on making music together which lead to the planning of the first mixtape but they still hadn’t decided on a proper name at the time and then Koma just said ‘Why don’t we just be Villains, we are anyway?’ At that point there were 10 members in the crew and not long after they formed one of the brothers went inside to do a little time. After a little bit of reshuffling with the group members, myself, Slip of the Tongue and Juse1 were the last to be added to group just before Xmas 2010 and the first mixtape ‘City of Villains’ was released Xmas Day! Nothing else was really planned after that, was just an idea to drop a mixtape really but it was well received in the Underground and the vibe was right, we clicked together well & everything sorta fell

in to place. So after a few meetings, a few more Billy Mavs and a whole lot of Yuggieness we decided to drop the ‘Funk’ with respect to our Funk Village brothers and thus the ‘VILLAINS’ were born. MEANING BEHIND THE NAME VILLAINS... It represents who we are as a Hip Hop crew, what we do and how we plan to achieve what we set out to. Don’t get it twisted though, we’re grown ass men, some of us with Wives and Kids so we know that we have a responsibility to them and ourselves to keep right and keep it moving forward on the music tip. But basically, mainstream, underground, old skool or new skool, if you gonna keep overlooking us and act like you don’t know or don’t have the time then that’s fine by us, do what you gotta do. We’re gonna be right here going about our business and looking like the bad guy because that’s how society has painted us to be, Villains, let’s show them Villains! SOLO PROJECTS OR PROJECTS GOING SIMULTANEOUSLY... Yes. We’re pretty much all always working on something, whether it’s a group Villain thing or solo/ group projects. We released three mixtapes (Villains) and three solo albums (Slip of the Tongue, JB, DJ SMV) last year. This year Funk Village are first out the camp releasing their street album in March. Frankton Zoo are next with a mixtape dropping in May, and then Juse1 is dropping his mixtape in July. Everyone else is working on their upcoming projects with N.I & Koma planning to release in the 2nd half of the year. SMV & Slip of the Tongue are working on a concept album under the moniker ‘Do It Up Boys’ and myself & Hitz are also working on a concept album under the moniker ‘Snow Bros’, these two albums will be tied together as the characters we portray in them are connected and crossover on tracks within 37

the theme. Then Slip of the Tongue, SMV and myself are all working on our 2nd album’s with release dates TBA and then after that & all going to plan we hope to release a full length Villains album at the end of the year.

THE HIP HOP SCENE COULD DO WITH ON AN INFRASTRUCTURE TIP... Well the fact that there is still a scene at all is a blessing. Knowing that there are people who are still representing the culture fully, the writers, the bboys & bgirls, the dj’s and the emcees is an awesome feeling. And that we are part of that culture that has been passed down to us. The present scene is thriving in the mainstream fitting in with todays perception of style, flavour and attitude of what they expect to see onscreen and hear on the radio from Hip Hop artists from society’s point of view. Kids see Lil Wayne, Drake, Chris Brown, Waka Flaka etc and expect our artists to have a similar sound, a similar look, a similar cockiness about them so artists are under pressure to fit that mould or stereotype that has been unwillingly forced upon us, yet at the same time still tryna be kiwi, be ourselves and represent and talk about home and where we come from. At the same time the underground scene is thriving also with artists choosing to bypass all the conformaties and standards from the industry, labels, pressure to come with a number one hit record, losing control of their art and not being allowed to have the freedom to speak on whatever they want to and sound however they want without the pressure of having to conform to pre-chosen or pre-destined standards. Now, mainstream and underground, are they even different? This is an argument that has been going on since day one and probably will forever. In the overall scheme of things and in my opinion

I don’t think they’re any different from each other and neither should they be. People seem to get it confused and misunderstand what the message and the whole point of it is, we are just Hip Hop artists representing the ‘Rapping’ part of the culture aka MC’ing and in order for us to spread that part of the culture and share what we have to say we have to reach a certain amount of people. Then in order for us to keep on doing what we’re doing we have to reach more and more people and build a following with those people while continuing to spread out and reach more and more people in effect becoming popular making our music popular music, in other words pop music. Now as in any culture, we must trace back to find out the what’s, where’s, the when’s, why’s, who’s and how’s in order to know why we are here, why we are able to do what we do, who made it possible for us and what we can do to keep it alive and pass it on. Go back 10/15+ years in NZ Hip Hop culture and mainstream Hip Hop at the time were people like Upper Hutt Posse, Che Fu, Dam Native, Urban Disturbance, Semi MC’s, Gifted and Brown, Lost Tribe, Three the Hardway etc but the style of music, the lyrical content, the sound of the beats and production are far from what mainstream Hip Hop is in today’s scene and most probably would be labeled as underground. Granted that times have changed, a different era and now the music has become more about the business side of the culture and making that dollar multiply. Money will always be a factor, it is a driving force and it is a need, a need to survive, to pay bills, to feed, shelter and clothe ourselves and our children, and all of us classed as either mainstream or underground all want it, that’s a fact. Now, for the heads that

didn’t do or get into Hip Hop because it was the in thing or cool thing to do, I do know this one thing for sure, if you were to take away all the fame, lights, popularity, tv appearances, awards, red carpet events, all the money, they’ll still continue to make music or create because the reason we all become part of and wanted to express ourselves as individuals in the culture was the music first and foremost, being able and knowing we had a voice to be heard, to live and breathe Hip Hop and Rap music. Is it wrong for an artist to want a number one hit on the charts? Definitely not, to be number one and the best at what we do is normal in Hip Hop, competition is what drives us. Is it wrong to aim for awards and trophies? No, DJ Jazzy Jeff and the Fresh Prince won the 1st Rap Grammy ever in 1989. We all like to be praised and applauded, that’s what makes us feel like what we’re doing is right. Is it wrong to want to conquer the streets and have the hoods locked down and flooded with mixtapes? No. And that’s my point, we’ve been conditioned into thinking that we’re on different sides playing for different things when in the end it’s the culture and the Hip Hop scene that is taking the toll. We must realise that we are all the same and we need to support each other more than we know or want to admit. You could have the biggest most exquisite mansion filled with the most expensive furniture and decor, luxury and rare ornaments and more antiques than Buckingham Palace, everything you desire and could ever want in it but what would be the point if the foundations of it were weak and unstable, it would crumble and all of it would be worth nothing in the end. 40

IN THE FUTURE... This year has already been planned out music wise, hopefully we can take things up a level from where we left off last year. We’ve been getting requests for shows around the country so we’d like to plan a tour at some point and take our music on the road and visit our peoples out and about. Obviously we just wanna keep making music, stay productive and keep moving forward. Working on merchandise so hopefully we can get some tshirts and stuff out there in the streets in the near future. Always learning, there is no stopping so keep your eyes peeled in 2012. ADVICE FOR UPCOMING RAPPERS OR DJ’S... Do what you wanna do how you wanna do it. As long as you are true to who you are, if you can look yourself in the mirror and know that the person you see looking back has done the best and given their all then that’s the best advice I could give. At the end of the day you have to live with the decisions you make. And also, never be afraid to ask for advice or help! You might get ignored or given the cold shoulder time and time again but don’t get disheartened by it, be persistent but patient, be outgoing and have fun, but most of all just be yourself.

LAST WORD “Bro, shurrup bro I’m tryna get some sleep” “Sorry cuz” “Aye, bro, sole, sshht want me come smash you” “Nah cuz” “Aye sshht, I’m not your cuuuzzz” “Aye sshh go da shop and get me a pie hurry up” “Brooo, WITH WHAT?” “With your Braaaiiinnn, better then your nuts, now hurrry up, come on” “At least I got some nuts” “Oww you don’t even know 1 + 2” “BLEH” “It’s 4 you clown” “PUKANA” “Puuuuuue” “PATERO” “Whalepaku” “You live in one”....

RELEASED WORKS

VILLAINS - City of Villains *Mixtape Vol 1 (Dec 2010) Slip of the Tongue - The Trouble with Vin *Album (April 2011) VILLAINS - Noize Control *Video (May 2011) VILLAINS - C.O.V 2:The Rapscallion Resurrection *Mixtape (May 2011) JB - Rebel Without Applause *Album (August 2011) JB - WAR (Who Am I) *Video (September 2011) DJ SMV - Soul Trainâ&#x20AC;&#x2122;d *Album (November 2011) VILLAINS - C.O.V 3:The Green Room *Mixtape (Dec 2011) VILLAINS - Rapscallions *Single & Video (January 2012)

CONNECTIONS www.htownvillains.com htownvillains@gmail.com facebook.com/VILLAINS.RAPSCALLIONS ILL-RX Hip HopShow Every Thursday NZ Radio Station 88.1 Contact FM

Born and raised in Italy to a British father and an Italian mother, Julian started taking photos whilst studying economics at university in Milan. What started as a hobby became a full time job, shooting for magazines such as Italian Vanity Fair, Vogue, Russian GQ and Madame FigarĂ˛. Aswell as fashion brands including Ralph Lauren, Dolce & Gabbana and Salvatore Ferragamo. Fashion photography gives

Julian Hargreaves

the opportunity of experimenting, playing with clothes, models and locations whereas portraits allow him to meet and interact with interesting and successful people whilst capturing their most intimate moments. Travelling is his other great passion, and often he combines the two things, creating a good mix of fun and work. interview by Rudi Vodanovich

You’ve done a lot of different types of work: portraits, travel features, fashion and more. Do you have a particular preference? I like working with people and photographing them gives me the opportunity of getting to know them and showing new sides of their character and of their image. How did you first become involved in photography? I’ve always been interested in fashion and in forms of art in general and aesthetics has always played an important role in my life. As a teenager I started taking pictures of friends from school and neighbours, always trying to capture their beauty and recreating images I saw in magazines. Then a few years later, while I was at university studying economics. I realized I wasn’t doing what I really wanted to do. A couple of days after speaking about it with my mother, a friend of hers gave me his old Nikon FM with two lenses. This was a totally manual camera from the 70’s. I immediately started playing with it, experimenting with exposure, light and of course with people. I knew that was what I wanted to do.

Your job is so varied, could you describe a typical day in the life of Julian Hargreaves? As you say, each day is different, so I don’t really have a routine day. If I’m not shooting I get up at 9am, I check my emails, have breakfast and start looking at some online papers and magazines. Often I get ideas of who to shoot or what to propose from news that I read on who’s coming in town (singers, writers, actors) or which film or album is being released in that period. Being informed is very important in my job. Then there’s always some editing to do, photos I took previously that need to be chosen and sent to the clients. My lunch break is always in a restaurant, either with a client, a photo editor or with a friend I want to catch up with. Where as on a ‘shooting’ day I get up, drive to the location or studio, work and if I have time then go to the gym to release some tension.

You have photographed many well-known people, could you tell us about some of your most memorable shoots? Working with Richard Gere was a great experience. Obviously heâ&#x20AC;&#x2122;s a very famous person, so initially I didnâ&#x20AC;&#x2122;t know how to treat him, but he had such a relaxed way of approaching work that i immediately felt comfortable asking him what to do, and telling him what I wanted to achieve with the photos. Other memorable shoots are all the ones where the weather was sunny and warm, everyone turned up on time in a good mood, the catering was good and that I could see good photos on the screen right from the start. Do you think that formal photography training is necessary? Training in photography can be helpful in an early stage, in order to find out how the camera works, how to use both natural and artificial light and how a set works, but other than that and a few other technical tips, photography is about ideas, taste, and a bit of luck. Personally I think photography school is helpful, because it stimulates you to practice, to exchange opinions and ideas with other students and helps you find a direction. 52

What do you feel are the most challenging aspects of your job? Proposing ideas to magazines and clients or selecting only the jobs you want to do can be challenging. And what has been your most difficult subject to shoot? It was a writer who was extremely nervous and kept on moving around and blinking with his eyes. I had to throw away most of the pictures, and while I was editing I kept on praying that in the next shot his eyes would be open. And then of course there is my three year old niece. She wouldn’t keep still but I needed to get a good shot for a campaign I had to hand in the following day, so finally I bribed her with some ice cream…….she’ll probably appreciate it when she gets older. Is there anything or anyone you wouldn’t photograph? I would have difficulty photographing dead people. Is there anybody you never had a chance to photograph and always wanted to? It would be Queen Elizabeth II. She seems so cold and unreachable. It would be a challenge to try and get an expression of her that nobody else has seen before, more human and less formal. 54

Which photographers/artists do you look up to and admire and why? Iâ&#x20AC;&#x2122;m a big fan of Bruce Weber, for his aesthetical vision and his spontaneity and painter Lucien Freud for his strength and capacity to show his subjectsâ&#x20AC;&#x2122; hidden character. Who has had the biggest influence on your career? Probably my mother, through the education she has given me. She used to drag me to see art exhibitions as a kid. When assigned a job how do you approach the subject material? First I try and create an informal atmosphere, making the subject feel comfortable. Then I explain what kind of images we will be aiming for, to get the subject in the right state of mind. Almost like a director telling an actor his lines.

Have there been any events in your life that have heavily influenced and impacted your work? Not really, many events have influenced my work. Actually every day there is something new which probably influences the choices I make and my work. What other projects are you currently working on? I just finished shooting a 20 page editorial with a series of actors and a musician, for an independent magazine called Hunter. Most of them were shot in London. You’ve taken thousands of pictures, which photos are you most proud of? The ones that people still remember after several years, or that make someone say to me ‘did you shoot that’? You’ve travelled extensively around the world, what are your favourite holiday spots? My favourite places so far are probably New Zealand and Madagascar, they both have a relatively small population spread on a large surface, and both have very diverse climates and vegetation, according to which parts of the island you visit. Finally, what does the future have installed for Julian? Hopefully new challenging assignments with interesting people in different parts of the world I haven’t visited yet. 58

He is one of the hardest working emceeâ&#x20AC;&#x2122;s I have had the privilege of meeting. Partnered with a well balanced outlook towards his creation process and straight business, he shares his insight on all that is the science of

RAKAA IRISCIENCE

Interview by

Teremoana Rapley 63

upbringing 64

What is your ethnic background, your parents, grand-parents etc? My father is Black and Choctaw (Native American), and my mother is half Korean (from South Korea). Her father was said to be Hawaiian, but we don’t know for sure. We just know that it was a Korean War birth. We were raised as part Hawaiian when growing up, and we lived in Hawaii (and my younger brother was born there) off and on for many years. People just assumed I was either Samoan or Tongan for the most part when I was growing up. Where did you grow up? Why? I respect the Hawaiian culture and the people enough to not just claim it to add more exotic spices to my blend, but I am more connected to it than I can explain. Los Angeles is home, but I feel like I was born in Hawaii… Waimanalo… Country boy side on Oahu. My father was a minister, public speaker, and a businessman, so we traveled a lot. Los Angeles is the main family base, so I went to school and spent most of my time in L.A. Besides, there are enough Polys in California to make me feel like I’m back in Hawaii sometimes anyway! Hahahaha!

When were you first introduced to Hip-Hop culture? How? Where? With who? Which element/s? My sister, who used to sing and rap into her brush in the mirror when she would visit and baby-sit me as a child, introduced me to rap music. Very early… maybe 8 or 9 years old. I didn’t even know that the music was connected to a larger culture until I was introduced to Run DMC. I first began to participate in Hip Hop culture as a Graffiti Artist. Through Graffiti, I was introduced to DJ Rob One (RIP) who was a DJ and Graffiti Artist. He asked me to work on a mixtape with him and told me what to do. I was already writing poetry, but I didn’t connect it to Hip Hop or network outside of the Graffiti scene until then. When did you know you wanted to rap and release music? I wanted to rap and release music the second I saw what Run DMC looked like. I loved their music from the moment I heard it, but they became superheroes when I saw them. I got serious in my senior year of high school, and stayed focused on it even when I started college. It was a record deal that inspired me to take my first break from college, but I always went back to better myself when I had breaks in my schedule. As a matter of fact, I will finally finish my degree in June 2012. I just chipped away at it. I made a promise to myself to both finish my degree and make the most of my opportunities in the music business. It hasn’t been easy, but I haven’t let myself down. I refuse to.

business 68

As an artist, did you always know from the get-go, that business acumen and/or good management was an integral aspect to success in the industry? When? I have always been the type that stays aware and involved in whatever business that I’m a part of. I assumed going in that there was a clear system in place, and that everyone in the business was some type of hybrid creative-business genius. I couldn’t have been more wrong, but I was at least prepared for the possibility. I spent hours alone in libraries (and later online) making sure that I understood what I was in the middle of. I had to make sure that my whole team was taken care of. I had to personally negotiate with high-level lawyers, managers, agents, and label executives. To do that, I had to know more about what I was talking about than they did. I had to learn some old Latin, as that is the language of law. I had to be able to switch hats from artist to manager to agent instantly -- or be able to wear more than one hat at a time. I did that. I had less time to get f*cked up and chase groupies around than a typical MC might, but I can look back and see that as a definite blessing at this point in my life. Don’t trip though, I definitely know how to party and have a good time… I just know that there is a time and place for everything.

Does dealing with the business side of music effect your creativity as a rap artist? lf so, how? Sadly, it sometimes does. Doing multiple fulltime jobs within the group can obviously be draining and distracting on a practical level -- especially when one of those jobs is still to create incredible music out of pure silence. It can also cause issues between group members when Iâ&#x20AC;&#x2122;m in artist mode one minute and then correcting a business issue with them the next, and those issues undoubtedly find their way into our process. It also means having to keep switching between creative and the purely analytical vibes constantly. It can be difficult sometimes, but Iâ&#x20AC;&#x2122;m built for this and I braced myself for the sacrifice early.

Success is when the creativity and work ethic that helps me to achieve my goals teaches someone else something positive and inspires them in theirs.

creativity 72

Explain your songwriting process... I can rap over anything… I am better over what I feel completely, but I’m pretty comfortable airing out any beat that is put in front of me. I can always find a style and approach to work for me. I don’t have particular process though. Sometimes I wake up in the morning and see that I have made notes from dreams. Lyrics from dreams have been a part of my rhymes on every Dilated album. I also freestyle a lot and take notes for what feels right. Sometimes it is playing off of what someone I’m working with says or does. I’m actually usually more inspired by DJs than MCs for whatever reason. Anyway, I just stay open to the inspiration and seize the moment when it comes. In my opinion, every single nuance of creative thought is a gift. The true creative process should be respected and appreciated as the process of giving birth to fresh ideas and / or approaches. It is bringing life into the world.

Crown of Thorns sports multiple collaborations was this a conscious decision or just how the album came together? It was definitely conscious. BDP is probably my biggest musical influence in Hip Hop, so having KRS One on there and later adding Mad Lion to a different track was important to me. KRS One is indeed a teacher. Aloe Blacc, Noelle Scaggs, Rhettmatic, Bobo, and Chali 2na are all family and very talented. The song “Ambassador Slang” features Tasha (Yoon Mi Rae), Tiger JK (Drunken Tiger), and Epik High from South Korea; Roscoe Umali and Jay Jaballas repping Los Angeles and the Philippines; CHIEFSONS and the legendary King Kapisi, both repping Samoa and also repping Los Angeles and Auckland respectively; Dumbfoundead from Koreatown Los Angeles, Tassho Pearce from Hawaii, and production by dj honda from Japan/NYC. I just wanted to build that bridge, and the idea grew from there. The album is just a key… a map. It is there to give context to everything else I have done, and to share more of my personal story in a more potent manner. The song is about my relationship with my group, my demons, the scene, the industry, music, and culture. The album and song by that title are both very personal to me, yet they were both things that would have destroyed me from within if I tried to contain their power.

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The traditional entertainment industry infrastructure is not what it used to be. With technology enabling wider access to tools for listening, making and releasing music. As a major causal factor determining an artists shelf life and the carry on effect on market share, audience attention span, market preferences and expectations - how do you keep on top of this change or do you even participate in that mess or have you created your own path within the Matrix? True… The entertainment industry infrastructure has definitely changed -for the better and the worse. Technology and shifts in public perception mean access to more -- meaning that a gem will be discovered, but that access to more creates a flood that heavily dilutes the culture as a whole. It’s a tradeoff, but it’s one that I’m willing to accept for the opportunity to be exposed to a few incredible artists that may not have made it to my attention through the old system. This is true for Hip Hop, Punk, Reggae, Jazz, Rock, Electronica… basically all music. In fact, it applies to most creative fields in general.

That said, we just need to understand that we are now in an era of branding where the brand is more important than the quality of the product. It’s a brilliant strategy from a corporate and marketing standpoint because it is this concept that puts a .10 stitch of a logo on a 5.00 shirt and allows it to then be sold for 50.00. It, however, is a vampirical and disrespectful strategy from a culture and arts standpoint because it often turns art into convenient yet unhealthy fast food. My group has survived and continued to thrive by making sure that we don’t chase trends or compromise on quality. We do what we do better than anyone, and my system is flexible enough to balance out any corporate system. Even when you drive straight down the road, you’re constantly adjusting the steering wheel slightly because the road itself may change. t! That’s being focused but aware in business, in my opinion.i

CONNECTION twitter.com/therealrakaa

Future plans... Hmmmmâ&#x20AC;Ś I have a few projects on the stove right now. Stay tuned for details, but there will be more passport stamps involved. We are already working on the new Dilated Peoples album called Directors of Photography which is set for a late 2012 release. There will also be more hosting and speaking gigs in 2012â&#x20AC;Ś I just got back from co-Hosting the Red Bull BC One (world 1-on-1 B-boy championships) in Moscow in November, and I already hosted it in Paris and Johannesburg in the past. Beyond that, I will finish my last semester at University in June and keep working on getting my Gracie Jiu Jitsu black belt.

Upper Hutt Posse are a six piece rap, reggae, funk fusion band. They have released seven albums and 20 music video clips. Formed in 1985, the Posse emerged at the forefront of the local response to emerging rap culture, touring with impassioned performances that brought notoriety and respect. Their unique fusion of rap and reggae (in both English and Māori languages) has been an inspirational injection into the national music scene and a powerful vehicle for their revolutionary socio-political perspectives, and irrepressible musical talent. The latest album “Declaration Of Resistance” fuses rap, reggae, funk, soul, rock and even a little punk. It follows an electronica dubstep-drumnbass album released a year prior. Not confined to any one style, or to how they create music, new musicians and personalities keep the lineup fluid yet solid, revolving around the central figures Te Kupu, who has recently transformed to rhythm guitar-vocals, and MC Wiya on bass and vocals. UHP embrace a kaupapa (objective) of consciousness-raising and are unrelenting in their momentum addressing global imperial capitalist culture, and producing groove driven music with meaningful phraseology.

OUT NOW

upperhuttposse.chnl.it 83

I must have met her when she was around 15 in the late 90â&#x20AC;&#x2122;s. This was a time of change for many people from our generation. A group of Auckland rappers and deejays gathered at my home on the regular. Many musicians stopped in over the years and our home became lovingly also known as MRHQ (Maori Revolutionary Headquarters). She was sometimes there at our MRHQ family gatherings with her Mum and Step-Dad. She was a quiet, softly spoken girl. She usually had her long hair down, hiding half of her face and only spoke when she had something that needed to be heard. Skip forward a decade or so, to March 2011. My husband and I catch her at the Kings Arms Tavern in Auckland, NZ helping to raise funds for the Mana Maoli Collective based in Hawaii. Homegirl is onstage spitting freestyle with ease and connection. I am smiling from ear to ear. Later that year, a crew she is part of, Shine Forum, drop their EP at a local club. At the launch they have a full band set up and they ooze that same purity and clarity of mind over beats our generation had when we all got our ish together for a minute. Shine Forum were representing Kaupapa Driven Rhymes Uplifted aka KDRU. 84

So it was to no surprise that at 4am after a legendary Upper Hutt Posse gig in Auckland City, NZ. This emcee cruises into the bar after finishing up playing at another spot. I am genuinely happy to see her just so I can say to her, thank you. My heart was uplifted by the two times I had seen her perform. Her long hair may still cover half of her face but she still only speaks when she has something that needs to be heard. She is

Bella Shanti

As far back as she can remember she has always lived between the big city hustle of Auckland and the golden sand coastline of the Bay of Plenty. She would spend summer holidays with her grandmother who lived by the ocean, and was also the local Public Health Nurse servicing areas such as Waimana, Ruatoki and Taneatua. She would also make frequent visits with her Step-Father to his papa kﾄ（nga, Te Urewera. This young girl of Chinese and European descent was immersed in two worlds. The western world and the world of Ngai Tﾅｫhoe. Interview by Teremoana Rapley

Describe the scene at the time when you first started rapping? I just happened to be around a lot of local rap that was coming out at the time. I started writing songs to guitar when I was around 13. It was completely different to what I am doing now, but that was when I started getting into singing songs and writing rhymes. I kind of went through a phase when I was a teenager and started listening to drum n bass and learning to deejay using turntables. Around 18 I started getting back to writing rhymes. I had a couple of friends who were into rapping. Bjorn from OpenSouls, when they were first starting out and doing gigs around town. I was lucky to be around that. Ladi had moved up (to Auckland) and was doing Verse II. So I was listening to those fellas and jamming out. I guess that is what pushed me to start getting into rhymes again. I was listening to a lot of American rap but being exposed to local cats was inspiring at the time. I was fortunate in that respect. The scene at the time was really polarized. There were two scenes co-existing simultaneously. The one that I was exposed to was based on live bands. And it was based around freestyle sets and soul based Hip-Hop music. At the same time there was a lot of straight rapping and some kind of gangsta styles going on but that was more suburb based. It wasnâ&#x20AC;&#x2122;t really what was happening in the clubs in central Auckland at the time. I was not really exposed to that scene until much later. It was also the time when labels were starting to get things organized. Some of the artists who were part of the formation of Breakinâ&#x20AC;&#x2122;WreckWordz like R.E.S were there too. There was also a lot of cross over of styles. 87

Compare the scene from then to now. I guess there was a lot less people jamming and even fewer recording and dropping tracks. There is so much more music now and thatâ&#x20AC;&#x2122;s cool. Back then, it was interesting because there was a lot of little bright eyed individuals in the crowd who later went on to become really incredibly talented artists in their own right. So it was an exciting time back then because everyone was forming what their steez were. What that comes down to for me is that there were key people that were doing stuff then who were instrumental in forming the artists we hear now. The scene is open to a lot more people and there is room for more different styles and expression. I was closed off from a lot of what was happening back then in the suburbs â&#x20AC;&#x2DC;cos I was a city kid, no vehicle (laughs). And the music that was coming out the suburbs had a different kaupapa and flava from what was happening in the city. So back then I was living a very sheltered life (laugh) whereas now I am all over the place doing gigs.

Tell us about Shine Forum I was a solo emcee for ages dropping rhymes over instrumentals on vinyl. Some people got me involved with their projects like Kolab, getting me to do a warm up for their live shows or freestyle in their set. They even got me into the studio to drop a rhyme with Bjorn on the first album they dropped. People like that encouraged me to do what I was doing. I actually started going out with this dude, Damien. He was in a group called Forenziks with his brother and MC Switch who is in Sunshine Sound System. It was at a time when Switch had moved down to Queenstown so Forenziks werenâ&#x20AC;&#x2122;t really doing much. After about a year Damien and I started rapping together and then we started Shine Forum. We are no longer together as a couple but we are still together as a group. We released an EP and still working on tracks for the group as well as solo projects. Did you feel there was a need for Shine Forum at the time? It came together randomly and naturally. But there was also a concept based on a need that we saw. The need was as I saw it, to be expressing some concepts you would find more in conscious Hip-Hop but maybe expressing it over more commercial or gangsta sounding beats, depending on what the flava of the gig was at the time. So we thought we would make these really on to it messages that would was accessible to these people. What we figured out was that the people that needed to hear these messages were listening to more commercial music whereas I came up listening to Talib Kweli, Dead Prez, The Roots and those kinds of artists. I was fed a lot of conscious messages through their music. But what I noticed is that other people who listened to that type of music were already conscious, they were already on that tip and thatâ&#x20AC;&#x2122;s why they were drawn to it. Whereas the people who could have benefited 90

from listening to these positive messages were more often than not listening to commercial music which didn’t contain these messages. That was something I was seeing this as incongruous as existing. The message was there but they weren’t getting through to the target audience so to speak. Explain the name Shine forum. The idea of that was wherever we went, we were trying to create a space where anyone could step up and be a part of what we were doing and contribute to it. So there were these rules around it where we would not turn any gig down no matter where it was or who it was for. As a result we found ourselves performing alongside groups who were very different from us. And that forced us to be non-judgmental towards music that we are brought into contact with. At the end of the day I guess it was a matter of where is it that we are going to end up with our music, who is going to listen to it. If we tried to decide who we play to because their music is different from ours we are only limiting ourselves and the effect our music and the messages could have. In fact it is a practice of Tino Rangatiratanga. Because we want to have it for ourselves so its not fair of us to not allow our music to have it for itself and stand alone outside of what we need it for. I mean if our music can have its own self-determination and decide whose ear it gets in to. When you express anything with realness and authenticity it will cause anybody else around you who has had a similar experience or can relate to it will cause this feeling to well up in them and that’s what the Shine is. It’s about the artist making the people around them shine. So whether you are the person delivering the message or the listener and translating that into thought and understanding from your own point of view. This is a forum involving everyone there. 91

If you were approached by an upcoming female emcee what advice would you give her? Well first of all don’t look at yourself as being a female emcee. Look at yourself as an emcee. The reason is that if you are not very good and you really look and promote yourself as being a female emcee you may find that people will cut you some slack and offer you opportunities that you may not have earned in terms of your skill purely because you are a female emcee. That won’t be satisfying for you, believe me. And the other thing is if you are really good, then people likewise will always put that down to you being a female. At the end of the day you don’t want to only be compared to females, you want to be compared to everyone, because you need to stand alone as an artist whether you are female or male. So just don’t let yourself get pigeon holed like that. And remind yourself everyday. I AM A FEMALE AND I AM AN EMCEE 92

How did you become known as Bella Shanti? I didnâ&#x20AC;&#x2122;t really have an emcee name, I just went by Shanti. Around 2008 I met a couple of female artists who became really good friends, MC Karmin and Jayda Jones. They started calling me Bella Shanti, it was a name given to me. What are your Future Plans? Shine Forum is working on an album. Mr Ce and I are also working on solo stuff. I am also going to release around seven tracks that are finished or almost finished. Then I am going to release a whole lot of tracks under a new persona and doing more gigs. Stay tuned.

CONNECTIONS http://soundcloud.com/shineforum http://www.facebook.com/people/BellaShanti/100000639964831 http://soundcloud.com/bellashanti

First.Time.Feature.Film.Producer

The first time I met Zoe Hobson was in 2005. Zoe was a young production trainee working at Maori Television Service. There were three things I remember clearly about her. She was a white kiwi girl who could speak Maori language fluently. Her mind was sharp as a razor blade and she had an amazing passion for television and film. Today Zoe is running a production company, 38 Pictures which is based in her hometown of Dunedin, in the South Island of New Zealand. Zoe has turned her passion for film into reality by producing her first feature film, â&#x20AC;&#x2DC;I survived a zombie holocaust.â&#x20AC;&#x2122; interview by WIREMU TE KIRI

Kia ora Zoe, I remember you were so driven to work in film. Now, you are producing your first feature film ‘I survived a zombie Holocaust’. How does it feel to be producing a film? It feels amazing. I thought it was going to be a long time until I got the chance to produce a feature film. It has been such a great opportunity, and I have learnt so much in the process. For me it’s the first step in what I hope to be a long line of films that I produce! How would you describe this film? It’s a zombie/comedy. Think ‘Shaun of the Dead’ in terms of the tone...it’s a lot of fun! “Wesley, a young runner on a zombie film set, has the first day from hell when real zombies overrun the film set... Who are the real zombies and who are the extras? Decapitate with care!” What stage of production are you at? We are currently in post-production - with a small group of people trying to work multiple jobs it takes time, but we are really lucky to have outstanding people working with us. How did you end up producing this film? I was working on a few projects with a local writer (Guy Pigden) and the New Zealand Film Commission announced a new low-budget film making scheme called Escalator. Guy and I put a couple of ideas together and submitted them. We got shortlisted (along with 11 other teams) and attended a boot camp. Then we had to put together a second stage application, which was pretty detailed. Four of the 12 teams were given the green-light, and we were one of them! 99

As a producer, what do you actually do? Anything and everything, especially on a low budget film, where you always end up doing more than one job. It’s basically my job to make sure everyone else has what they need to do their jobs. My days can be a combination of casting, script feedback, location hunting, budget reworking, schedule building, contracts, interviewing people for jobs, lots of meetings with heads of departments, equipment sourcing, etc, the list goes on! What have been the challenges of producing? I guess one of the challenges is that as the producer, you’re the bottom line. You are the person that people come to with problems, and you are the one that has to solve them. Luckily I enjoy problem solving!! What have you enjoyed about it? I really enjoy being challenged, and I enjoy finding solutions. I also really love getting a team of amazing people together and having the chance to work with them - I’m really lucky to have fantastic people around me as cast and crew.

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Wow, sounds like you are having a blast producing this film. Are there any funny or interesting onset stories you can share? We had a lot of fun with fake limbs on set - we were filming in the middle of a forest and often when walking toward set you would come across blood splattered body parts or hear screams in the distance. One of our zombie extras had to leave set in a rush one day (due to an emergency at his day job)...he didnâ&#x20AC;&#x2122;t have time to take his makeup off before turning up at his office and gave a few people a fright! What specific skills do you think have helped you the most, with producing this film? Being organised, being determined, having a strong network around me. You have to have no boundaries of what is or isnâ&#x20AC;&#x2122;t possible. You have to be able to work really well with people because the actual filming is so intense, you need to be able to hold everything together. 103

To anyone out th to work in th - hang in there, fight for what y

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here who wants his industry work hard and you believe in.

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When will â&#x20AC;&#x2DC;zombieâ&#x20AC;&#x2122; be released? Mid 2012! After work stints at Maori Television and TV2 soap Shortland Street, you set up a production company 38 Pictures. Since its inception, how has the company progressed? 38 Pictures started out producing film content for a computer game called Casebook, produced by Aerograph. From there we have grown to produce 3D films, offer 3D production advice and management and now developing a range of film projects following from producing our first feature. Ok, how did 38 Pictures end up producing film content for a video game and making 3D films? 38 Pictures grew out of the need to produce film content for a computer game - I got offered the job producing the film content, and we formed a great team that worked on the episodes...but we were only filming one episode every few months, so we wanted to keep our crew busy in the time in between too. Thatâ&#x20AC;&#x2122;s when 38 Pictures was set up. From there I met a very talented 3D producer/director called Gallien Chanalet-Quercy. He has been running a 3D film company in Paris for the last 10 years, and had just moved to Dunedin. So we decided to partner up and move into 3D film making too. I really enjoy working with innovative technology, and I always like the challenge of something new!

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CONNECTION

http://www.38pictures.com/ https://twitter.com/#!/38pictures

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Community.Teaching.In.Spain

We have seen the cliché Hollywood films about the teacher who works in an inner city high school facing many problems. Poverty and social inequalities prevent students from reaching their potential but the teacher will inspire the class to believe in themselves. In the real world, the obstacles are never ending and inspiring students’ isn’t an easy task. Wiremu Te Kiri visited an inner city high school, Seccio D’Institut in Badalona Spain to chat with teacher,

Humberto Burcet

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My first impression of this school is that it is very multicultural and looks like a prison from the outside. What do you think of this observation? It really does look like a prison! But it is just for the tall fence. Once you are inside its colourful, have you seen the walls? Students have done famous paintings of important artists like Monet and Liechtenstein... the school is colourful given the variety of students. 40% of them are Asian (Pakistan, India, China), but we also have students from Africa, Latin America and Spain of course. I think it is a great opportunity to work on their intercultural skills... and ours! We can learn a lot from each other. How long have you taught here and how would you describe this school? I am new to this school, this is my first year and now it has been almost five months of teaching here. Some people describe it as a trench site as you come across many different situations. This is a low-income working district with many immigrants from different cultures that live together. You can imagine kids have to undergo all kinds of situations and you, as a teacher, have to be a model for them. As a tutor, furthermore, you have to work hand in hand with their parents and help them beyond their academic needs, which can be hard sometimes, but very rewarding when we all work together to find a way to solve complicated situations.

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What is it like to work here? There is no time to get bored, I can assure you! There are many different levels so you have to prepare lessons for each particular group: newcomers that can’t speak Catalan or Spanish, students from rural areas in their countries of origins that have scarcely attended school before, pupils who come back to their countries for some months and come back in the middle of the course, brilliant students who want to do the best of themselves, and students who simply can’t be bothered and you have to do your best to keep the motivation high to all of them. It’s a real challenge but I’m up for it. Being the youngest teacher of the school perhaps places me in a position closer to their likes but you have to keep the right distance as well to keep the authority. Why do you like teaching? I simply love it. You can share all your knowledge with your students and at the same time you are learning from them. I am used to teaching at university level, where you can discuss or question concepts, and you are in front of students who really want to be there. Now it is different, I am teaching teenagers, they are experiencing lots of changes and despite their rebellion there is a thirst for curiosity that I really like. I also value their creativity, and I always want to push them to explore their potential and to be glad of their work.

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How do you keep the attention of students? I try to surprise them. I am very visual and I love to engage them in a particular subject. I am teaching English, and in Spain this is not their favourite subject in most of the cases. So I try to make it meaningful for them. At the beginning of the year I tell the students they are going to travel all around the world. I set each unit in a different country and together with vocabulary and grammar, they learn about the culture of this particular country practising all the skills. At the moment we are dealing with New Zealand, and guys are learning about Maori culture in class. At the end, they fill in a passport-like worksheet to check all what they have learnt and then they can travel to the next country (the following unit). I play songs, films, and games as well to make it appealing to them. How do you inspire them? I talk about my own experience. I grew up in a similar neighbourhood as theirs. I try to convince them that if you are motivated you can do whatever you desire: “si vols pots”, we say, ‘if you want, you can’. I talk about my dreams, my trips, my projects, and how, little by little, I have been reaching my goals of becoming a teacher, a journalist, traveling around the world and reporting on my trips... I tell them, as well, about how learning languages has helped me.

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I have seen the Spanish media reporting about teachers on strike and also being unhappy about working conditions, what are your thoughts on this? Being a teacher in Spain was a sought after job in the public school system. Conditions are changing now. You have to go through a hard period of exams, have as many qualifications as possible, and a bit of good luck. In a recent survey, teachers, researchers and artists were the happiest professions in Spain. However, with the recession hitting Spain, unemployment, budget cuts, etc. conditions are getting hard and the Health and the Teaching sector are the ones suffering the consequences: in education we have got our salary frozen for some years and now they cut our wages, raise the taxes, increase the workload and the hours of teaching. When I ask senior teachers all agree in saying that harder times are still to come, as they have never experience before, and staff rooms fill with discontentment and teachers donâ&#x20AC;&#x2122;t feel looked after given their important mission in society. Nevertheless, there are demonstrations every now and then... letâ&#x20AC;&#x2122;s see if they work. Well thank you very much Humberto for your time. Keep up the amazing work at your school. Nga mihi nui ki a koe me nga kaiako katoa o SI Badalona. 116

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Recipe

STEAM PUDDING 3 cups of plain flour 2 cups of sugar 3 teaspoons baking powder 1 cup of milk 3 eggs 125g butter 1 teaspoon baking soda dissolved in quarter cup of hot milk Golden syrup (approx. 5 tablespoons) Mix flour, sugar, baking powder in a bowl. Rub in butter. Add milk, eggs and baking soda dissolved in hot milk. Add golden syrup. Mix well. Pour into a greased steam pudding dish or large tin. Steam for 3 hours and serve with custard or fresh cream. 120

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overstayer

clothing collection

summer/winter12

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Prices / Shipping Costs/ Policies Description

Pricing (NZD)

Tees from

$29.95

Hoodies from

$59.95

Shipping Policy --------------------------------------------Postage within NZ (up to 1kg) Postage within NZ (up to 4kg) Postage Outside NZ

-----------------Free $30.00 $10 per item*

--------------------------------------------------------------------------------------------* Please note this does not include import duties and taxes.

---------------------------------------------------------------------

Expected Delivery Times Within NZ

2-5 Working Days

7-14 Working Days Outside NZ ---------------------------------------------------------------------Return, Refund and Exchange Policy Every order draws an invoice which is contained within your package on delivery. On the back of the invoice you will find the exchange and return form. Fill it out and return via post. The return must be made within seven days of receipt of goods in NZ and within 14 days of receipt worldwide of receipt of goods. Returns, exchanges and refunds must be sent via Track and Trace postage at the cost of the customer.

Important Note All prints are hand printed, therefore each item of clothing is created based on the designs but not exact. Please be aware of the margin for human error. If you want a perfectly printed item of clothing, please do not purchase our garments. Disclaimer Information was correct at the time of print. Please see www. plantationstore.co.nz for updated policies and pricing. ------------------------------------------------------------------All items are available for purchase at www.plantationstore.co.nz 144

Catalogue Credits

Photographer Teremoana Rapley Model Kahuti Nuku Screen Design Preparation Tere Urale Screen Printing Bill & Tere Urale Shoot Location The driveway to our family home in Auckland, NZ. 145

Overstayer Clothing was created by South Pacific Hip-Hop Artist, King Kapisi. The initial idea for the label was a t-shirt design based on the Samoan Flag with four Hip-Hop elements incorporated into the design. A year and several successful New Zealand music chart singles later, King Kapisi was presented with the opportunity to create a full-scale clothing line in collaboration with NZ skateboard label designers, Poynter. Overstayer Clothing became the first local urban label to be introduced into NZâ&#x20AC;&#x2122;s largest departmental clothing store, The Farmers Trading Company. Overstayer then went on to present its clothing range at New Zealand Fashion week two years consecutively with successful inroads into one of Australiaâ&#x20AC;&#x2122;s largest departmental clothing companyâ&#x20AC;&#x2122;s, Myers. Though Overstayer is considered an urban street label, its corporate operations and focus moved further away from its initial market, not unlike many street labels when expanding. After much consideration, it was decided that King Kapisi would end the partnership with his licensee and return Overstayer back to its early beginnings. With a manually operated screen-printing carousal in their garage, Overstayer is now a home run business. The package and distribution area is in what used to be their lounge area, and their office is set up in the study of their home. Overstayer Clothing is a family affair.

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History of the Polynesian Overstayer The name Overstayer is derived from a racially charged period in New Zealands history. During the sixties, the expansion of New Zealandâ&#x20AC;&#x2122;s industries required a pool of unskilled labour. The government looked to the South Pacific for this resource and policies were put into place to ensure the most suitable candidates were chosen. As the economy grew, a blind eye attitude was taken towards expired working permits until the mid 70â&#x20AC;&#x2122;s when the Muldoon led National Party used the so-called overpopulation of Polynesians as a reason for the economical downturn regarding the unsubstantiated burden these Overstayers forced upon social services and employment levels. In fact, with the assistance of the government and media coverage at the time, the word overstayer was synonymous with Polynesian, ensuring not only daily victimization through the alienation of racism but also institutionalized racism was woven into the fabric of New Zealand society. These allegations caused a serious divide between some New Zealanders, sparked further by sporadic unwarranted police arrests of predominantly Polynesian males, the unfair work conditions of Polynesian workers due to the lack of understanding of their legal rights, early morning dawn raids on family homes and the appalling housing conditions provided for Polynesians amongst other incidents. In turn, these events gave birth to the rise of the Polynesian Panthers Movement, a group of mostly 17-19 year olds, inspired by a movement in the United States at the same time, The Black Panther Party.

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